SECRETARIAT OF THE CREATIVE ECONOMY PLAN

Policies, guidelines, and actions 2011 - 2014 SECRETARIAT OF THE CREATIVE ECONOMY PLAN

Policies, guidelines, and actions 2011 - 2014

President Dilma Rousseff

Minister of Culture Ana de Hollanda

Executive Secretary Vitor Ortiz

Identity and Diversity Secretary

Creative Economy Secretary (structuring) Cláudia Leitão

Team of the Secretariat of the Creative Economy (structuring) Cabinet Teresa Cristina de Oliveira Adriana Cordeiro Keiser Costa Tássia França

Development and Monitoring Direction Luiz Antônio G. de Oliveira Demétrio Tomázio Alexandre B. de Oliveira Renato Schattan Emanuella Sampaio Glauber da Costa Vaston Paes Landim Wilson Carlos Araújo

Entrepreneurship, Management, and Innovation Direction Luciana Guilherme Suzete Nunes Micaela Neiva Thalles Siqueira Ana Maria Villalba Andréa Guimarães Alinne Carvalho Notwithstanding the antinomies existing among Thiago Paiva the visions of history emerging in a society, the Communication Advisory Sheila Rezende social change process we call development Wesley Mendes Maui B. Marques acquires certain clearness when we connect it Support Álvaro Duarte with the idea of creativity. Napoleão Filho Elisângela de Souza Alessandra P. dos Santos Ney Alexandre Celso Furtado Maricelo dos Santos Criatividade e dependência na civilização industrial [Creativity and dependency in the industrial civilization], 2008.

Plano da Secretaria da Economia Criativa: políticas, diretrizes e ações, 2011 – 2014 [Secretariat of the Creative Economy Plan: policies, guidelines, and actions, 2011 – 2014]

Brasília, Ministry of Culture, 2011. Page 148.

ISBN - 978-85-60618-05-7

1. Culture 2. Creative Economy 3. Development, Brazilian Ministry of Culture PARACELSO PARACELSO [FOR CELSO]*

Céu Sky Sol Multicolor Furtacor Sun

Bom pau Good Wood Do paú do pombal Columbarium Wood

Seu ser His being Excelso Admirable Furtado Secret

Celso furtivo Undercover noble Bomba da paz Bomb of peace Depois rapaz Later a boy E aqui And here Ainda vivo Still alive

Céu solícito Solicitous sky Explícito sol Explicit sun Inconfortável fruto Uneasy fruit

Celso frutado: Noble the fruit: Bendito é o suco. Blessed is the juice.

Chico César Chico César Singer, songwriter, musician, and Secretary of Culture of the State of Paraíba 07/06/11 * Free translation of the poem Paracelso, written by Chico César. For a Creative Brazil

On December 4, 1986, the United Nations made a first Declaration on the Right to Development, asseverating that it is an inalienable human right, at the same time that it is a right and duty of the States.

The creative economy has obtained highlight in the discussion focus of international institutions, such as the United Nations Conference on Trade and Development (“UNCTAD”), The United Nations Development Program (“UNDP”), and The United Nations Educational, Scientific and Cultural Organization (“UNESCO”), considered as a strategic development axis for several countries and continents, in the new century.

Notwithstanding to be recognized by its cultural diversity and creative potential, Brazil does not appear in international surveys, among developing countries, as a producer and exporter of creative goods and services.

The Secretariat of the Creative Economy (“SEC”) symbolizes, from this Plan the Ministry of Culture’s challenge to lead the formulation, implementation, and monitoring of public policies towards a new development, grounded on inclusion, sustainability, and, specially, on the Brazilian cultural diversity.

On the other hand, in planning, through the Secretariat of the Creative Economy (“SEC”), a “Creative Brazil”, we intend to emphasize the commitment of the National Culture Plan with the Plan Brasil sem Miséria [Brazil without Extreme Poverty], through the productive inclusion, and, with the Plan Brasil Maior [A Greater Brazil], in the search for competitiveness and innovation of the Brazilian creative businesses.

That is why, we, who are part of the Ministry of Culture, salute with joy and hope the Plan of the new Secretariat of the Creative Economy (“SEC”). May this document symbolize a landmark for repositioning the culture as an axis of the country’s development. After all, as Câmara Cascudo, we also believe that “the best of Brazil is the Brazilian People”!

Ana de Hollanda Minister of Culture The Secretariat of the Creative Economy (“SEC”) in Brazil

The turn of the century brought visible signs of changes in structure and conjunction pointing to certain trends that are redirecting the course of the globalized world development policies. Certain changes of economic, technological, social, and cultural order irreversibly transformed the contemporary society. The bond between the local and global became more and more present. In such scenario, the creative economy concept was brought up, which has been highlighted as one of the most dynamic segments of the world economy, becoming a viable development strategy option in the 21st century.

As per institutional memory, both the United Nations Conference on Trade and Development (“UNCTAD”) and Brazil had an important role in the evolution of the intergovernmental debate on the increasing importance of the creative economy for impelling jobs, innovation, culture, and trade. It was in 2004 that the Tenth Conference of the United Nations (“UN”) on Trade and Development (United Nations Conference on Trade And Development (“UNCTAD X”), gathered 158 countries in Sao Paulo, and upon debate and negotiation, the international community decided to introduce the creative economy theme in the international political agenda for economic development. Since then, the United Nations Conference on Trade and Development (“UNCTAD”) has developed a pioneer role, to the effect of researching, analyzing and causing international actions to be taken in order to make governments responsive, including Brazil, as regards the importance of the cultural and creative sector for redefining public policies helping developing countries to diversify their economies at the same time they further creativity, knowledge, social inclusion, and cultural diversity.

In such context, the United Nations Conference on Trade and Development (“UNCTAD”) congratulates and brings its institutional support (and my personal support as a Brazilian citizen) to the new government, through the Ministry of Culture, through the creation of the Secretariat of the Creative Economy (“SEC”) in 2011. We hope to consolidate the cooperation between the Creative Economy Program of the United Nations Conference on Trade and Development (“UNCTAD”) and the new Secretariat. With no doubt this is a decisive step for articulating a solid strategy that optimizes the impact of the creative economy on a development model that is a more inclusive and sustainable one in the Country. The time is propitious to put in practice concerted interministerial policies and institutional mechanisms helping to effectively connect the interface between the economy, culture, technology, tourism, as well as labor, social, and environmental issues – in order to fit the dimension of the creative economy development as a whole.

Today, we know that an increasing portion of the population of emerging countries “creative nexus”, in order to attract investments, technology, entrepreneurship, and trade, devotes a greater percentage of their income to culture, social experiences, entertainment, commencing partnerships and creating synergy among actions of the government, investors, and leisure. Each day, all over the world, the great majority of the individuals consume creative creative entrepreneurs, artists, and academics, in order to reinforce the creative capacities in products. On a daily basis, we listen to the radio, watch TV shows, dress according to fashion, the country. listen to music, read newspapers, use software programs in our computers to work and study, directly or not, we consume advertising, etc. There are empirical showing that certain creative The Brazilian people has always been quite creative, mainly because he needs to find products, such as music, videos, digital games, all in all, a number of domestic consumable solutions for the several challenges he faces every day. Brazil has a strong cultural identity, it creative goods maintained a stable demand even during the international financial crisis. The is a happy and dynamic country, and, above all, an emerging country with a certain level of creative economy encapsulates the creative sectors, which comprise the cycle of creation, education and a quite defined institutional and regulatory panorama – all in all, such factors production, and distribution of goods and services that use creativity and intellectual capital positively contribute to the formation of the intellectual capital of the country, and encourage as main inputs. However, we must highlight that the creative economy is centered, but not creativity not only in the artistic and cultural field, but in business, science, and cutting-edge restricted to arts or the cultural industry, since creativity is not an exclusive privilege of the segments of the economy. Brazil has all the attributes to stimulate an inclusive development artists. We refer to a wide and heterogeneous field including since workmanship and popular through creativity, culture, knowledge, and innovation. culture parties to the most intensive technology services, such as architecture, design and scientific research. The process of transforming ideas and knowledge into tangible assets or intangible services provided with creative contents, cultural and economic value, and market goals is important. Edna dos Santos-Duisenberg Head of the Creative Economy Program of It is implied that the creative economy generates economic growth, employments, the United Nations Conference on Trade and and foreign exchange values. Given its multidisciplinary characteristic, the creative economy Development (“UNCTAD”) potentially contributes to poverty reduction and the insertion of the excluded ones and minorities, such as women and talented young people informally conducting creative activities (workmanship, popular parties, dancing, etc). The creative economy also makes the interaction between the public and private sectors easier, associating businesses, foundations, Non-Governmental Organizations (“NGOs”), and philanthropy. Therefore, it is important the existence of a participative process and flexible schemes with partnerships in all levels, and political articulations from community, municipal and state levels to the federal scope. That will facilitate the elaboration and implementation of a pragmatic plan of action to reinforce the creative economy in Brazil.

Another application of the creative economy is in the formulation of urban policies for municipalities and cities. The concept of “creative cities” has been widely used not only to revitalize cities searching for new directions emphasizing arts, differentiated services, entertainment, in order to attract the so-called class of creative entrepreneurs, which ennoble the cultural life and bohemia, valorizing thereby the historic heritage and the contemporary side of the cities. Nowadays, we know that it is possible to conciliate art, culture, and technology with businesses and sustainability.

In order to constitute a creative economy good performance leading climate, we need to seek for solutions to remove the obstacles suffocating the development of the creative sector in domestic and foreign markets. Structural causes are common, but there are also obstacles regarding the access of creative goods and services to the international market, which affects the creative economy agility of developing countries. Therefore, despite of the abundance of creative talents, rich heritage and cultural diversity, the potential of the creative economy in Brazil has been underused. To such effect, we encourage the government to institute the In search for the place of culture in the development process

Through several paths, the thought on culture leads, today more than ever, to its connection with development. On the one side, the experience unbuilt the thesis of the existence of a direct and linear correlation between the economic growth and development, converging to ideas such as those of Amartya Sen, that there is no development without the guarantee of rights and freedoms: - right to work, health, education, home; political, cultural, ethnic and religious freedom. On the other side, a complex and mutating picture: the growing amplification of the Culture concept, added to technological advances – but not only – redounding in the dissolution of boundaries between languages and media, and in deep alterations in the forms of production and access to cultural goods and services.

From the end of the 1980´s, grounded on the international debate on the environmental matter, the concept of sustainable development was outlined, which, notwithstanding sometimes serves as shelter to opportunist attempts to conciliate the non-conciliable, ended, in the course of those years, for finding an apparently simple but solid definition: sustainable is the kind of development supported, on a balanced basis, by the economic, social – and we must include the cultural therein – and environmental pillars.

The synthesis resulting from the Mexico World Conference of 1982 remains up-to-date in defining Culture as the group of spiritual, material, intellectual, and emotional characteristics distinguishing a social group. (...) comprising ways of life, a person’s fundamental rights, systems of values, traditions and beliefs, and the Development as a complex, holistic, and multidimensional process, which goes beyond the economic growth and integrates all community’s energies (...) grounded on each society’s desire to express its deep identity. The definitions of those two phenomena historically seen as so diverse are of such a proximity that they become almost permutable among each other. Celso Furtado goes further in affirming that, since the development projects should be defined by the perception of ends and objectives intended by individuals and their communities, the cultural dimension should then prevail on others.

The axes grounding the discourse, not only that of the United Nations Organization for the Education, Science and Culture (“UNESCO”), but that of the whole United Nations system, are consistent with such principles, that is, the “culture as a right” and the defense of the “culture centrality in the construction of sustainable development models”. We must highlight that such centrality is not limited to the knowledge that the cultural goods (not the culture itself) have economic significance. Although correct, such understanding is still far from representing the actual insertion of the culture in the development processes, which is, segments internal processes having not a creative or cultural nature. That shall be as much yes, the less privileged approach – or the most difficult to be worked with – by the cultural refined as the classification of a country’s economic activities are detailed, which may or may policies, which ends for frustrating the possibility of more profound and lasting interventions. not allow such fine tune.

Such little digression precedes the considerations on the institutionalization of a Such explanation takes a place in this text for a very simple reason: once the rules of governmental program turned to the creative economy because, I believe, any program the game are established, the methodological excuse connected with the classic question on of such nature should refer thereto. In another words, regardless of the conceptual or which is the culture field cannot be an obstacle anymore for the production of information methodological cut that shall define the option for the creative economy, or the culture on the segment. All results shall be valid if they are faithful to their postulate, to what one economy, or for the creative or cultural industry, its background, the place where the proposed to investigate. Consequently, if methodological parameters are agreed, the convergences are findable and divergences flattened, it is its nexus with the development. production of information does not need to be concentrated in the federal level, but it may Today, we need a program able to contribute to place the culture in the center of the be decentralized towards states and municipalities, aiming not only at reducing the work development debate, not only for the growing role the culture plays as factor of ingress to load at a central level, but, above all, spreading the interest for the knowledge of the culture the economy, but for its contribution to the strategies of poverty reduction, of favoring the specialties as an economic industry, and formulating policies, to their most possible extent, endogenous creation, and of diversity furtherance. fixed in the territories.

The initial steps for the creation of the Secretariat of the Creative Economy (“SEC”) in UNESCO’s new Referential Landmark seeks for acknowledging the informal activity, the Ministry of Culture give signs of rejecting a certain “methodological stoppage”, which acts and tries to breach concepts of high and low culture, handiwork and intellectual work. It as inhibitor of a firmer presence of the public cultural policies as propellers of the industry includes all activities, goods, and services produced by the cultural industries (industrial development. The effort to conceive a planning landmark, counting on the most diverse and handcrafted ones); all elements of participation in the cultural activity (formal job, contributions, does not solve all conceptual problems, but aggregates the country’s best participation in events, at home), and the entire creative chain. It is based on economic capacities, and traces a portrait of the state of the art. In other words: we came all the way measures for pragmatic reasons, mainly because from there arises a greater facility of up to here, and it is from here that we must go on. measure. Therefore, it requires deepening actions that, in the case of Brazil, should deserve a special attention with respect, for instance, to the forms of apprehending the intangible And in pondering on what we know and what we have, the information, statistic data, heritage or the traditional knowledge, transversal to a number of fields, once their creation, and indicator theme, as well as that of the studies and analyses resulting from deserves production, and dissemination processes occur almost simultaneously. Even so, it is possible a special record. This is a field in which, for sure, there were important recent advances to find indicators, and, specially, the cultural practice and time use surveys, although more in Brazil. Such advances must be consolidated and become permanently incorporated into expensive in all senses, are the most suitable alternative. the agenda of the Ministry of Culture, and, thereby, into the information-providing bodies, specially the Brazilian Institute for Geography and Statistics (“IBGE”). It is also one of the In reflecting on the Secretariat’s role, we must keep in mind that its work is commenced main possibilities of contribution by the United Nations Educational, Scientific and Cultural in one of the greatest history economic periods of the country’s growth, allied to income Organization (“UNESCO”), which is the result of an effort of decades to the effect of establishing distribution efforts, and, therefore, of search for a more balanced and sustainable development. a group of parameters that may lead to a production of data that are coherent, and, above The moment is of ascension for a great contingent of the population to new consumption all, comparable among countries. The propositions of the United Nations Educational, standards; of new occupation fronts, especially in the Central West and the Amazon; of big Scientific and Cultural Organization (“UNESCO”) for measuring the culture segment, as well intervention in infrastructure, especially energy, transportation, sanitation, communication, as studies and analyses arising out thereof, are consolidated in their Referential Landmarks and equipment. The impacts of what has happening are still needy of more comprehensive for the Cultural Statistics, the first of them launched in 1986, and the most recent one in analyses, and, in the culture field, we are between perplexity and reactive and circumstantial 2009. Without intending to be closed and dogmatic ones, such Referential Landmarks have reflection. Important cultural changes are studied on a locally basis, for instance, in the scope operated as a threshold for selection of the human activity fields that should compose the of Environmental Impact Studies – we must record: environmental, situation represented universe of searches and statistics on culture, and, as such, they has been most useful, even only by a limiter, a problem to be contoured so that one certain objective, greater and more though requiring adaptations to the countries’ reality, even because they acknowledge that significant, can be reached. The culture did not yet reach the condition of a project conception a cultural bias traverses every statistic instrument. The Referential Landmark results in the dimension, as suggested by those who defend its connection with the development. construction of a matrix having in its vertical axis a group of cultural production areas, and, in the horizontal one, the process representing the cultural production cycle. Such apparently The new Secretariat plan of action qualifies to take part in such complex context, once simple ingenuity gives flexibility to capture a certain activity having a creative or cultural it is not intimidated with the immense transverseness of its object of actuation, going through nature in the core of a non-cultural economic segment, or to subtract from certain cultural a large spectrum of institutions and governmental segments, private sector, and creators. It goes from the production of knowledge to the professional education, to regulatory matters, up to the furtherance itself. A second moment could, perhaps, be that of, among such vast universe, to select which is reachable in the different time horizons, manage the inevitable institutional and financial limiters, and all that without disregarding the affirmation strategies required to a still fragile field in the public policy context. None of that shall diminish the importance of the work. By the way, good examples of what works well in governmental structures around the world are usually laid on a format grounded on simplicity, by an apparently elementary recipe involving coherence, continuity, regularity, and clearness of objectives. All that can be extracted from its plan of action, therefore, may the Secretariat of the Creative Economy (“SEC”) have a long and productive life!

Jurema Machado Culture Coordinator of the United Nations Organization for the Education, Science and Culture (“UNESCO”) in Brazil The Brazilian creativity and cultural diversity as resource to a new development

The African writer, Mia Couto, at a press conference held at the Bienal do Livro [The Biennial Book Fair] in Ceara [State], in 2004, affirmed that the colonialism has not died with the country’s independencies; it has only changed its shift and executioners. He told journalists that during decades the Africans searched for someone to blame for their unhappiness and incompetence. At first, they blamed the colonizers. Then, they constructed romantic images of what they were before them. The colonizers had gone away, he said, but new forms of colonialism kept going on, and such new forms were naturally managed between ex-colonizers and ex- colonized. He said: “We become more and more alone with our own historical responsibility of creating a new history”. The reflection of this Mozambican writer leads us to think. After all, what kind of development are we searching for? And for such development, which State and which economic models should we construct? And, for the construction of such economic models, which mentality should we adopt?

Assistance projects and international aid have been the beloved daughters of the development myth. The creation of furtherance institutions, programs, projects, the transfer of resources, the donation of equipment are intertwined with local oligarchic systems, which, in their political, social, and economic spheres, have shown, in the course of time, adaptation, renewal, and continuity capacity. And such oligarchic systems are exactly those being nourished from the “non-development” of the poorest regions of the country, of the “no way out” Brazil.

On the other hand, the social, economic, environmental, and cultural crises we have been through are concrete expressions that the modern development model, grounded on the accumulation of wealth and growth of the Gross Domestic Product (“GDP”) is in frank decadence. Development should mean, above all, life quality and amplification of choices. The economist and then Minister of Culture, Celso Furtado, connected the development with the idea of creativity in his book “Criatividade e Dependência na Civilização Ocidental” [Creativity and Dependence in the Western Civilization]:

[...] societies need means of defense and adaptation, whose efficacy reflects the ability of its members to formulate hypotheses, to solve problems, to make decisions in the face of uncertainty. Well, the emergence of an additional surplus... opens to the members of a society an horizon of options; it is not longer about reproducing nucleus, and Cities of the States of Bahia, Pernambuco, and Ceará. As testifying-objects of the what already exists, and it is, yes, about amplifying the field of what Northeastern cultural identity, the architect had a glimpse of their use as a basis to develop an is immediately possible [...] The new surplus, therefore, gives rise to Artisan Study and Work Center and an industrial design school, which would produce projects a challenge to inventiveness... In its double dimension of generating to the industry. In the school, there would be exchange of experiences between the students of power of a new surplus and creating impulse of new cultural values, architecture and design and the artisans. That was obviously a political project. Her projects of the such releasing process of human energies constitutes the last source museum-school and the furtherance to the Brazilian design in such structure were interrupted in of what we understand as development. 1964, when she was removed from the museum by the Brazilian dictating regime. In 1963, at the opening of Museu de Arte Popular da Bahia [Bahia Popular Art Museum], with the exhibition “Nordeste” [Northeast], Lina wrote: Celso Furtado has fought during his whole life for a decentralizing development, grounded on the Brazilian regional cultural diversity. And, therefore, he was a merciless critic of the capitalistic societies, and “of its sophisticated form of controlling creativity and manipulating This exhibition, which inaugurates Museu de Arte Popular do Unhão information”. What disturbed Furtado was the conscience that “the stability of non-equalitarian [Unhão Popular Art Museum] should be called Northeast Civilization. social structures would be directly related to the control by private groups of the production Civilization. Trying to take from the word the courtly-rhetorical meaning goods of the artistic, scientific, and technological creativity, and the information flow that arises inherent thereto. Civilization is the practical aspect of the culture, out of such creativity.” Great defender of innovation, the economist emphasized, however, the is the men’s life in every moment. Such exhibition tries to present a need that the technological progress walked side by side with the access of such products to civilization thought in every detail, technically studied, from the lighting broader layers of the Brazilian society. to the kitchen spoons, bedspreads, cloths, coffeepots, toys, furniture, arms. It is the desperate and furiously positive search of men who do Decades have passed, but the reflections of the ex-minister of culture are still up-to-date. not want to be ‘fired’, who claim their right to life. A fight of every The failure of a model, whose results had only reinforced the abysm between wealthy and poor, moment for not to sink in despair, an affirmation of beauty achieved has incited the contemporary states to encourage communities, public and private decision- with the strictness that only a constant presence of reality can give makers, Non-Governmental Organizations (“NGOs”) and other territorial agents to construct a [...] This exhibition is an accusation. Accusation of a world unwilling collective action from their own capacities and local potentials. to renounce the human condition despite of oblivion and indifference. It is a non-humble accusation that puts itself against the degrading In January, 2011, twenty-five years upon Celso Furtado, Ana de Hollanda retakes, in the conditions imposed by men in a desperate effort for culture. Ministry of Culture, the economist reflections on culture, development, and creativity. These are the words of the Minister in her inaugural: How to turn a “desperate effort for culture” into a fundamental right to development? The Ministry of Culture (“MinC”) answers to that question in a proposition manner, creating a The creation will be in the core of our attentions. The immense creativity, Secretariat of the Creative Economy, with the purpose of amplifying the transverseness of its the immense cultural diversity of the mixed people of Brazil, country of policies within the governments and the society. It is about a strategy to affirm the importance all mixtures and all syncretism. Creativity and diversity, which, at the of the public policies of culture in the construction of a broad and transversal development same time, intertwine and become a single complex of culture [...]. And agenda. It is about taking on the challenge of thinking of the development less as a product that is exactly why, in assuming the Ministry of Culture, I also assume the than as a cultural process. And, therefore, we need to take into account what we historically mission of celebrating and furthering the Brazilian creative processes. discarded and excluded throughout our history.

The Secretariat of the Creative Economy Plan (2011 - 2014), which we now present in The understanding of the Brazilian creative economy potential for the Brazilian development English and Spanish Language, represents the will and commitment of the Ministry of Culture, is not something recent. In the effervescent context of the 50’s and 60’s, the Italian architect, in President Dilma Rousseff’s Government, of rescuing what the traditional economy and the Lina Bo Bardi, accomplished her dream of building a popular art museum in Salvador [City], a modern development heralds discarded: the Brazilian people creativity. The social technologies space that allowed the dialogue between the academic knowledge and workmanship masters, to produced by the Brazilian immense creativity became irrefutable realities. Nevertheless, such form an original and Brazilian outline. Thus, she took an expedition collecting pieces throughout technologies still need support by the Brazilian State to flourish. In countless countries of the Northeast region, gathering an almost two thousand work estate. The wide complex of ex- several continents (such as Australia, Turkey, China) the creativity has been supported by votos, saints, candomblé [Afro-Brazilian spiritual belief] objects, animals, and wooden utensils, public policies, and treated as the input for excellence of innovation. Such new economy has clay objects, wooden mortars and pestles and pieces made of recycled material and garbage been growing thanks to the society of the knowledge and new technologies. It is the symbolical collected by Lina at fairs, markets, and religious material stores at several communities, rural dimension of the human production (present from the circus arts to games contents) that social wealth. For that, we must face challenging questions: why our cultural wealth and becomes a fundamental element in the determination of the price for such new goods and diversity do not make Brazil one of the grater touristic destinations in the world? How can services, building new sympathies, new ethics and esthetics, all in all, gathering communities we encourage and further the Brazilian creative talents? How the creative economy may and individuals, this time, from networks and collectivity. contribute to the productive inclusion of the 40% of Brazilian young people who today are among the 16.3 million Brazilians below the poverty line? How to amplify and qualify The data on the creative economy growth in the world are unquestionable. According the culture consumption in the country, taking into account the emergence of 39.5 million to estimates of the United Nations Organization for the Education, Science and Culture Brazilian men and women to the middle class? (“UNESCO”), the international trade of cultural goods and services has grown, in average, 5.2% per year between 1994 (US$ 39 billion) and 2002 (US$ 59 billion). However, such growth is still For facing such questions we need surveys, indicators, and methodologies for producing concentrated in developed countries, which answer for more than 50% of the world exports reliable data; we need credit facilities to further such businesses, we need education to creative, and imports. At the same time, researches of the International Labor Organization points to a infrastructure competences allowing the production, circulation, and consumption of creative 7% share of such products in the world Gross Domestic Product (“GDP”), with annual growth goods and services, inside and outside the country. And there is more. We need to advance forecasts around 10% to 20%. in the preparation of new regulatory landmarks, having a tax, labor, civil, administrative, and constitutional nature, allowing us to go further. Barbero defines four forces impelling the development: the production flexible organization; the diffusion of innovations and knowledge; the change and adaptation of the If the way is long, the task is full of passion. We definitely refer to the start of the building, institutions and the urban development of the territory. The interaction between such forces in Dilma’s Government, of a “Brasil Criativo” [Creative Brazil]. Let’s work! would produce the required synergy capable of provoking an endogenous development, which, in its turn, would allow Brazil a new economic growth alternative, no longer built outside in, but the result of a local economic dynamic. At the same time, such development would be grounded on the valorization of the local cultural ethics and expressions, required to the consolidation of cooperative practices, to the growth of trust between individuals and groups, further to the protection to the cultural and environmental patrimony of the territories involved. Cláudia Leitão Secretary for Creative Economy of the Ministry of Culture The creative economy complies, in its principles, with the conditions proposed by Barbero, and, therefore, translates a message of hope, producing positive impacts on all regions of the planet. However, we know that no model produced thereby in other nations shall fit us. As Mia Couto said, we need to build our own social models and technologies. After all, Brazil owes the world, and particularly the Latin America and Africa, an effective contribution to the new including and sustainable development.

The new Ministry of Culture (“MinC”) is willing to build a new development for Brazil, in a transversal manner, together with the other ministries, furtherance agencies, international institutions, S system, universities, creative sectors, the legislative and judicial branches, and government-owned companies, research institutes, organizations of the third sector, ultimately, together with the Brazilian states and municipalities. But, for building a new development, the building of a new economic mentality is required. Differently from the traditional “Taylorist” economy, the creative economy is characterized by the abundance, not by the scarceness, by the social sustainability, not by the exploration of natural and human resources, by the productive inclusion, and not by the marginalization of individuals and communities.

FURTADO, C. Introdução ao desenvolvimento: enfoque histórico-estrutural [Introduction to the development: historical-structural focus]. 3rd Edition. Rio The challenges are immense, but they are instigating ones. The Ministry of Culture de Janeiro [City]: Paz e Terra [Publishing House], 2000. retakes the difficult task of rethinking, re-conducting, leading debates and creating policies RIVERO, O. de. O mito do desenvolvimento: os países iniviáveis no século XXI [The development myth: the unfeasible countries in the 21st century. Petrópolis [City], RJ [State of Rio de Janeiro]: Vozes [Publishing House], 2002. on the culture and development in Brazil, with the mission of transforming the Brazilian VAINER, André; RANGEL, Daniel. Fragmentos: artefatos populares, o olhar de Lina Bo Bardin. Coleção Lina Bo Bardi de arte popular. [Fragments: popular creativity into innovation, and the innovation into wealth: cultural wealth, economic wealth, artifacts, the look of Lina Bo Bardin. Lina Bo Bardi Collection of popular art.] Salvador [City]: Centro Cultural Solar Ferrão [Publishing House], 2009. Summary

1. Introduction 29

2. The first challenge of the Plan: to agree upon a concept for Creative Economy 31 2.1. Scope of the creative sectors 35 2.2. The Brazilian creative economy: estimates and trends 40

3. The guiding principles 42 3.1. Cultural diversity 43 3.2. Sustainability 43 3.3. Innovation 43 3.4. Social inclusion 44

4. The challenges of the Brazilian creative economy 45

5. The Secretariat of the Creative Economy 48 5.1. Background 48 5.2. Mission 48 5.3. View 48 5.4. Purposes 48 5.5. Organizational Structure 49 5.6. Competences of the Secretariat of the Creative Economy (“SEC”) 53

6. The Plan 54 6.1. Concept 54 6.2. Elaboration structure and methodology 54 6.3. Products of the Secretariat of the Creative Economy (“SEC”) 75 Ministry of Culture 1. Introduction

We present to the Brazilian men lack of communication. We need to invest in and women the Plan of the Secretariat of translation systems that allow us to create a the Creative Economy (2011 - 2014), new new Alexandria library.” division of the Ministry of Culture in Dilma In the same Congress, the attorney Rousseff’s Government. Such Plan intends Philippe Kern alerts on “the need of thinking to be much more than a document to set of culture not as an autonomous island forth intents, policies, guidelines, and actions inside a certain social landmark, but moving in the Brazilian creative economy field. It it to the center of the new society social symbolizes a movement of the Ministry of and economic discourse”. Kern analyzes Culture (“MinC”) in redefining the role of the the reasons of such relocation and clarifies culture in our country. that such strategic change “would not We know that the current capitalistic be justified only for the growth of jobs system lives in a “dead end alley” and the created by the cultural industry, or even promises made by the State, grounded by the culture and creativity contribution on the ideals of “freedom, equality and to the countries’ Gross Domestic Products fraternity”, showed to be vain ones. On the (“GDP”), but specially because culture is our other hand, in reading and seeing the world, first economic estate”. whether through media or from our own In Kern’s metaphor, if in the industrial daily experiences, we get caught by a great societies the oil has been considered the great pessimism. After all, how to face the youth wealth producing estate, in contemporary disillusion, today with so many difficulties or post industrial societies, the cultural to be included in the work market? How diversity becomes the fundamental estate to to answer to minorities’ indignation before nations’ development, which estate guides the acknowledgement of their rights? How the technologies’ contents, governments’ to seek alternatives for the social violence choices, companies’ economic alternatives, reduction more and more intense? All those and, above all, the people’s ways of life. questions point to a radical decadence of Thus, the cultural diversity shall no the modern State models of the Economy longer be understood only as goods to be and Development. appreciated, but as a fundamental asset to “The future of Europe depends on a new understanding of the development. culture”, affirms the Polish philosopher On the one side, it must be perceived as a Zygmunt Bauman in the inauguration, in social estate, capable of causing sympathies Wroclaw, of the European Congress on among individuals, communities, peoples, Culture, organized by Poland in order to and countries; on the other, as an economic submit its candidature to the presidency asset, capable of constructing alternatives of the European Union. He also said: “The and solutions to new businesses, for world is becoming a Diaspora mosaic, a new work, all in all, for new ways of an archipelago of cultures, which while producing wealth. Thus, whether producing produces wealth, may also create a Babelic experiences or survival, the cultural diversity

Secretariat of the Creative Economy Plan 29 Ministry of Culture Ministry of Culture

has become the “cement” that shall create and its Plan, the essential conviction being and consolidate, throughout this century, a constructed in the Ministry of Culture, 2. The first challenge of new economy. that economy is culture. And, therefore, More than to enact, inside the we can only construct a country without the Plan: to agree upon Ministry of Culture (“MinC”), a secretariat to poverty (in the wider meanings the word quantify and qualify the culture economy poverty may raise) if we treat the Brazilian a concept for Creative or the creative economy, we defend, as cultural diversity as an essential resource for ground and guidance of the Secretariat constructing our public policies. Economy

The first step of the construction of development. Therefore, our first task was the Plan of the Secretariat of the Creative to agree upon the grounds of the creative Economy was, certainly, one of the largest economy, from the following principles: challenges we have faced. We needed to inclusion, sustainability, cultural diversity, define a concept that could serve both as and innovation. a starting-point and as a conductor line of A first obstacle faced in this the preparation process for the Plan. We conceptual construction process concerns knew the need to define contents for the the terminology adopted in the Creative “creative economy” expression, due to the Economy field, due to the major part of ambiguity and vagueness thereof, which publications and debates on the subject would create disturbances in our planning. to have an Anglo-Saxon origin. Further On the other hand, we were aware that if to inadequate due to each country’s the concept of creative economy is new specificities, a mere translation of concepts and still under construction, even among that many times give rise to semantic developed countries, we would need misunderstandings due to cultural to adapt it, in our Plan, to the Brazilian differences is a temerarious one. The specificities and characteristics. Thus, expression “creative sectors” – adopted as instead of reproducing concepts of other a rule by the Anglo-Saxon and even Latin countries with political, economic, cultural, and Asian countries – is literally translated and social realities different from ours, we in Brazil as “indústrias criativas”. However, should accept the challenge of amplifying in the English language, the word “industry” the meanings of the creative economy, also corresponds to the meaning of the adapting it to our country’s potentialities word “sector”, or the group of companies and characteristics. Our understanding of conducting a common productive activity creative economy definitely did not submit (e.g. automotive industry, garment industry, to the modern meaning of the “cultural etc.). That tends to generate a series of industries”. It is quite the contrary. The big cognition “disturbances” because of the intellectual and political challenge for the close association commonly made in Brazil construction of a Plan to the Secretariat between the word “industry” and large scale, was that of retaking the role of the Ministry massed, and serial manufacturing activities. of Culture (“MinC”) in the formulation Thus, for the purposes of this Plan and the of public policies for the Brazilian proposition of public policies, the expression

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“creative sectors” is adopted to represent those whose productive activities have FIGURE 1: Creative sectors – the amplification of the cultural industries the different groups of entrepreneurs as main process a creative act generator engaged in the Creative Economy field. of symbolic value, central element of Another important aspect is to price formation, and which results in identify the distinction existing between the production cultural and economic the traditional economic industries and wealth. Taking as an example the painting, the so-called creative sectors. To identify we observe that the artistic expression and classify such industries seems to be associated to the painter’s technique, essential due to the need of defining a represented in the painting, corresponds scope of action of the Secretariat of the to core of its cultural and economic value, Creative Economy. going much further than the materials To designate as creative sectors (canvas, inks, brushes, etc.) used for its those the productive activities of which production. The same happens to a graphic have as main inputs the creativity and designer whose value of the result of his knowledge, as set forth in some definitions, work is essentially formed by the symbolic seems to be quite vague due to such inputs value generated from its creation process, to be vital to any and all human activity, not associated to its technical skills. Despite to be deemed distinct factors. of the importance of the instruments and To consider that the creative sectors software programs required to develop are those whose generation of economic his work, the essence and the worth of the value is basically due to the exploitation of creative goods is in the human capacity of the intellectual propriety expresses a quite inventing, imagining, creating, whether on restrictive perception since the intellectual an individually or collectively basis. property does not correspond to an Then, starting from such concept, obligatory or a sole defining element of the as represented in the figure below, we worth of creative goods and services. realize that the creative sectors go further Thus, we must conclude that the than the industries designated as typically most significant distinction to the creative cultural, connected with the artistic- economy would be from the analysis of the cultural production (music, dance, theater, creation and production processes, instead opera, circus, painting, photography, We must highlight that, even before conducting diagnoses, and organizing of the inputs and/or intellectual property movies), comprising other expressions or the idea of creating the Secretariat of the industry committees such as fashion, design, of the creative goods or services. activities connected with the new media, Creative Economy, the Ministry of Culture architecture and workmanship. Then we come to the following the contents industry, design, architecture, (“MinC”) already paid attention to the In the first step of our Plan we definition: the creative sectors are all among others. importance of such theme. So, the Ministry define Creative Economy from the of Culture (“MinC”) starts to understand its cultural, social, and economic dynamics actuation for beyond the traditional industries constructed from the cycle of creation, deemed as cultural ones. That is why it production, distribution / circulation / included the axis of Creative Economy for diffusion, and consumption / enjoyment creating sectorial strategies in the II Brazilian of goods and services arising out of the National Conference for Culture, in 2010, creative sectors, characterized by the with the purpose of surveying demands, prevailing of their symbolic dimension.

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FIGURE 2: The Creative Economy and the operation dynamics of its links FIGURE 3: Productive arrangement of the music

The creative economy is, therefore, since their new business models are still under 2.1. Scope of the creative sectors about creative economy is to talk about the economy of the intangible, of the construction, requiring legal landmarks and transverseness, intersectoriality, complexity, symbolic. It is fed from the creative talents, conceptual basis suitable to the new times. Currently, it is almost impossible that is, what is “jointly composed”. who are individually or collectively organized The productive arrangement of to think of creative products restrained to Despite of the reconnection of the to produce creative goods and services. For the music provided in FIGURE 3 below a single area or creative industry. Fashion transversal knowledge and practices of being characterized by the abundance and exemplifies very well such dynamics, shows, for instance, are held along with music the creative economy, the categorization not by the scarceness, the new economy showing the different contributors forming shows; dance spectacles are integrated to and identification of industries becomes has its own dynamics, and, therefore, it it, and which are required to the optimization audiovisual projections; the book publishing fundamental to the public branch, due to disarranges the traditional economic models, of its final result. is made through the industry of new media the need of qualifying and quantifying the contents, etc. The intertwining of several contributors, activities, impacts, and the languages and areas became a common development of such field. To implement practice in this new economy, encouraged public policies suitable to the reality demands a both due to the facilities generated by minimum knowledge of such industries to the the new technologies, and for the creative effect of identifying potential local and regional capacity of constructing and interacting vocations, in order to knowledge and develop in a multidisciplinary way. After all, to talk them. Thus, the conduction of studies and

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surveys only becomes feasible from a minimum data of the creative economy in the world. In FIGURE 5 below, such structure upon, still in the same figure, we can verify definition of categories and indicators allowing Many efforts have been made to such effect. presented, proposed by the United the existence of the industries designated the measurement of the actual status and the The effort of global compilation used by the Nations Educational, Scientific and Cultural by the United Nations Educational, Scientific results generated from the implementation United Nations Conference on Trade and Organization (“UNESCO”), organized from and Cultural Organization (“UNESCO”) as of public policies. Another important point is Development (“UNCTAD”) in years 2008 and two macro-categories: that of the core transversal to the former ones: the intangible that such types of measurement and analysis 2010 must be highlighted, in producing the creative sectors and that of the related heritage industry, deemed traditional, for get sophisticated and deeper, for the need of first and second Creative Economy Report. creative sectors. The first corresponds being transmitted through generations, and comparing data, as regards such economy, In the 2008 Report (United Nations to the industries having an essentially alive, for being transformed, recreated and inside the country and abroad. Conference On Trade And Development creative nature, that is, the industries whose amplified by the communities and societies in Nowadays, there is an immense (“UNCTAD”), 2008), the scope of the creative productive activities have as main process their social, cultural, and environmental, and difference of categories and parameters sectors is presented from four categories – a creative act generating a symbolic value, history interactions and practices; further to used when one analyzes the survey heritage (red), arts (green), media (orange), central element of the price formation, and education and capacitating industries; record, methodologies used by different countries, and functional creations (blue), as we may which results in the production of cultural memory, and preservation; and, finally, that of which impairs the consolidation of global see in FIGURE 4, as follows: and economic wealth, as formerly defined; the equipment and supporting materials to the second corresponds to related creative the core and related creative sectors. sectors, that is, those which are not essentially Below, in FIGURE 5, we have a FIGURE 4: Scope of the Creative Sectors creative, but which are related and directly more detailed description of the activities United Nations Conference on Trade and Development (“UNCTAD”) (2008) impacted thereby through tourist, sport, forming the macro-categories of the core leisure, and entertainment services. Promptly creative sectors.

FIGURE 5: Scope of the Creative Sectors of the United Nations Educational, Scientific and Cultural Organization (“UNESCO”) (2009)

Likewise concerned with such matter, the wider, so as to correspond to the evolution of United Nations Educational, Scientific and the debates around culture and creativity in Cultural Organization (“UNESCO”) defined, nations’ development. Such model resulted from 1986, a scope of cultural categories, from an extensive international debate by defining industries and activities for involving academics, statisticians, and experts conducting statistical surveys and analyses – in the field of cultural and statistic policies. The Framework for Cultural Statistics (FCS). UNESCO’s work is a reference that must, With the elapsing of the time, such categories however, be analyzed and adjusted according and their respective industries were becoming to the national specificities.

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FIGURE 6: Activities associated to the Core Creative Sectors of the United Nations The main idea of this scope (“MinC”) was restricted to those having a Educational, Scientific and Cultural Organization (“UNESCO”) (2009) construction was to create and make typically cultural nature (heritage, cultural available to the different countries a tool expressions, spectacle arts, audiovisual allowing the organization and comparability and book, reading, and literature). Recently Core Creative Sectors of the national and international statistics such scope was enlarged, contemplating Associated Activities Macro-categories within the scope of the cultural expressions, also the cultural base industries, with a bias • Museums contemplating aspects related to the social of functional applicability (fashion, design, and economic production modes. architecture, handicraft). Please notice, in • Historic and archeological sites As already said, until recently, the FIGURE 7 soon ahead, the description of A. Natural and cultural heritage scope of the industries contemplated by the creative sectors contemplated by the • Cultural landscapes the public policies of the Ministry of Culture Ministry of Culture. • Natural heritage • Spectacle Arts FIGURE 7: Scope of the Creative Sectors B. Spectacles and celebrations • Parties and festivals Ministry of Culture (2011)

• Fairs • Painting

• Sculpture C. Visual Arts and handicraft • Photography

• Handicraft • Books

• Newspaper and magazines

D. Books and periodicals • Other printed matters

• Libraries (including virtual ones)

• Book fairs • Cinema and video

• Television and radio (including E. Audiovisual and interactive media internet) • Internet podcasting

• Videogames (including online ones) • Fashion design

• Graphic design

• Interior design F. Design and creative services • Landscaping design

• Architecture Services

• Advertising Services

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The updating of indexes and indicators 2.2. The Brazilian creative economy: EMPLOYMENTS IN CREATIVE SECTORS (2010) estimates and trends of the Brazilian creative economy was conducted from salary mass and occupation Description Datum Economic Analysis The production of statistic data level parameters extracted from the Annual 3,763,271 People exercising formal (8.54% of the about the Brazilian creative economy is List of Social Information (“RAIS”), and from occupations related to total of formal creative sectors * employees in We must observe that for each employment created in scarce, and, generally, the few existing the number of companies deemed creative Brazil) the creative sector core there is a multiplier effect for the other economic segments of the productive chain. For each studies adopt absolutely disparate in accordance with the Brazilian National employment created in the core, there are 4 employments 865,881 in activities2 connected to the industry. However such effect methodologies and categorizations. Classification of Economic Activities People exercising formal (196% of the may also be greater if we consider the informal industry not That arises out of two fundamental (“CNAE” 2.0) of the Brazilian Institute for occupations in the creative total of formal computed in such statistics. industry core ** employees in reasons: the nonexistence of a specific Geography and Statistics (“IBGE”). Brazil) account in the surveys of the Brazilian However, we must highlight that Average Income of formal The average income of formal workers in the creative Institute for Geography and Statistics (“IBGE”) the data provided below do not represent workers in the creative R$ 2,293.64 industry core is 44 % above the average income of the for measuring the activities and products the real dimension and importance of the industry core (2010)** formal workers in Brazil (R$ 1,588.42)

of the creative sectors (a Satellite Culture Brazilian national creative sectors, because * Brazilian Institute for Geography and Statistics (“IBGE”), ** Annual List of Social Information (“RAIS”), *** Federation of Industries Account); and the absence of a guideline by the survey methodologies adopted by of the State of Rio de Janeiro (“FIRJAN”), **** United Nations Conference on Trade and Development (UNCTAD). the public bodies regarding the unification of the several bodies and institutions are the classification and fitting of the economic able to capture only what results from activities and of the creative labor force. the economic activities conducted by COMPANIES IN CREATIVE SECTORS (2010)

Anyway, the data and information businesses and formal workers. Given the Description Datum Economic Analysis provided herein were estimated from studies high level of informality in the Brazilian conducted by the Federation of Industries of creative economy, a significant portion of Companies working in the 63,373 The creative industry core corresponds to 1.86 % of the the State of Rio de Janeiro (“FIRJAN”, 2008) the production and domestic circulation of creative industry core ** total 3,403,448 companies of the country. and by the United Nations Conference on national creative goods and services is not Trade and Development (“UNCTAD”, 2010). incorporated in the statistic reports. We observe that the creative sectors are characterized Average number of by the prevailing of small-sized companies and support employees per creative 13.7 by institutions such as the Brazilian Service for Support to industry company ** Micro and Small-Sized Companies (“SEBRAE”) is of great importance to its development. CREATIVE SECTORS IN BRAZIL * Brazilian Institute for Geography and Statistics (“IBGE”), ** Annual List of Social Information (“RAIS”), *** Federation of Industries Description Datum Economic Analysis of the State of Rio de Janeiro (“FIRJAN”), **** United Nations Conference on Trade and Development (UNCTAD)

R$ 104.37 billion * We refer to industries of great economic dynamism whose Contribution of the creative share in the Gross Domestic Product (“GDP”) overcomes sectors to the Brazilian some traditional sub-industries of economic activity Gross Domestic Product (2.84% of the (“IBGE”) as the extractive industry (R$ 78.77 billion) and CREATIVE INDUSTRY EXPORTS (2008) (“GDP”) (2010) Brazilian Gross the production and distribution of electric power, gas, Domestic Product water, sewage and urban cleaning (R$ 103.24 billion). Description Datum Economic Analysis (“GDP”)) *** There is a trend towards the core1 of creative sectors to gain There is still a lot of space for Brazil to amplify its creative more economic strength in the Gross Domestic Product good exports to the rest of the world. According to the Annual Growth of the (“GDP”) with the real possibilities of augmenting, in the Brazilian exports of creative US$ 1,222 million United Nations Conference on Trade and Development creative sectors in the latest future, its share in the Country’s Gross Domestic Product goods **** (UNCTAD), the Brazilian exports represent only 0.30 % 5 years (regarding the 6.13% per year (“GDP”). The annual average growth of the latest 5 years of of the overall value exported by the Rest of the World Gross Domestic Product the core of creative sectors (6.13 %) exceeded the annual (406.992 billion United States Dollars) (“GDP”)) average growth of the Brazilian Gross Domestic Product The same happens to creative services exports to the (“GDP”) rest of the world. According to data of the United Nations (4.3 %). Brazilian exports of creative US$ 6,331 million Conference on Trade and Development (UNCTAD), the services **** Brazilian exports represent only 3.42 % of the overall Brazilian Institute for Geography and Statistics (“IBGE”), ** Annual List of Social Information (“RAIS”), *** Federation of Industries of the State of Rio de Janeiro (“FIRJAN”), **** United Nations Conference on Trade and Development (UNCTAD). exported value (US$ 185 billion) * Brazilian Institute for Geography and Statistics (“IBGE”), ** Annual List of Social Information (“RAIS”), *** Federation of Industries of the State of Rio de Janeiro (“FIRJAN”), **** United Nations Conference on Trade and Development (UNCTAD)

1 The creative industry core corresponds to the economic businesses whose main productive process is a 2 Activities connected with the creative industry core are the economic activities directly providing goods and creative activity; services to the businesses of the core;

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3.1. Cultural Diversity productive structures in order to obtain 3. The Guiding Principles profits and assure short term competitive Thinking of a Brazilian creative advantages, ended for giving rise to big economy is thinking of an economy whose environmental unbalances. base, ambience, and wealth exist thanks The proliferation of a global to the country’s cultural diversity. The consumption culture has massed the The strategic planning process, suitable to the Brazilian national reality Brazilian creativity is, therefore, process markets with the offer of low value- understood as a reflection process of if it incorporated in its conceptualization and product of such diversity. added products, deprived of original development scenarios, possibilities, the understanding of the importance At the Convention on Protection and and local culture identifying elements. capacities and potentials of the Secretariat of the country’s cultural diversity, the Promotion of Cultural Expression Diversity, Thus, those having a bigger productive of the Creative Economy (“SEC”), gave perception of the sustainability as a factor held at the United Nations Educational, capacity start to domain the market, which rise to the need of surpassing concepts of local and regional development, the Scientific and Cultural Organization becomes compulsive and a little critical and definitions of the creative sectors and innovation as a vector of the development (“UNESCO”) (2007), such understanding is one. The cultural homogeneity starts to the Brazilian creative economy for us to of the culture and vanguard expressions, reinforced: oppress diversity, making the endogenous set forth guiding and limiting principles of and, last but not least, the productive development impossible. the public culture policies to be prepared inclusion as a base of a cooperative and The cultural diversity creates a reach Due to such considerations, it is and implemented by the Secretariat of the joint economy. and varied world that increases the important to determine which type of Creative Economy (“SEC”). So, according to what we can analyze range of possibilities and nurture the development we wish, which are the bases Thus, it was defined that the in FIGURE 8 below, the Brazilian Creative capacities and human values, thus for such development, and how it may be Brazilian Creative Economy should only Economy consists of and is reinforced by constituting one of the main engines constructed in a manner to assure a social, be developed in a manner consistent and the intersection of such principles. of the sustainable development of cultural, and economic sustainability in similar communities, peoples and nations. choice conditions to the next generations. FIGURE 8: The Brazilian creative economy and its guiding principles The Brazilian Creative Economy must then 3.3. Innovation be created in a dynamics of valorization, protection and furtherance of the diversity The concept of innovation is of the national cultural expressions dynamic essentially imbricated to the creative as a form of assuring its originality, strength, economy concept, because the process and growth potential. of innovating involves important elements for its development. The innovation 3.2. Sustainability requires knowledge, identification, and acknowledgement of opportunities, the The debate on the development theme choice for better options, the ability to in the latest decades has been amplified, endeavor and takes risks, a critical look extending beyond the traditional econometric and a strategic thinking allowing the and quantitative conceptions. Creating and accomplishment of objectives and purposes. evaluating a country’s level of development If, formerly, the innovation concept has become a quite difficult task, after all, had a direct match with economic growth, other dimensions started to be evidenced quantitatively speaking; it is nowadays as important ones, showing that many understood both as an improvement of developmental practices, even generating what is set forth (incremental innovation), high economic gains, ended for negatively and as creation of something entirely new impacting the mankind life conditions. (radical innovation). Incremental or radical, The indiscriminate use of natural the innovation in certain creative sectors resources and polluting technologies in (such as design, information technology,

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games, etc.) has a direct connection with still very manifest, where the functional the identification of applicable and viable analphabetism reaches a significant 4. The challenges of the solutions, especially in creative sectors the percentage of the population, where the products of which are fruit of integration violence is a daily reality, where the access Brazilian creative economy among new technologies and cultural to culture is still quite precarious (when contents. It may take place both in the compared to that of developed countries), improvement and/or creation of a new we cannot fail to take the social inclusion as product (goods or service), as well as in a a fundamental principle to the development process perfecting and complete redraw. of public cultural policies in the creative Manu are the challenges that must 2nd Challenge – Articulation and In the field of arts, the innovation economy area. be faced for the creative economy to be encouragement to the furtherance of has other meanings not related to the other Such policies’ effectiveness goes assumed as development policy in Brazil. creative companies aforementioned creative sectors. Quite through the implementation of projects Among them, five are highlighted and have the contrary, in the field of culture, the creating favorable environments to such been elected as material for the elaboration As well as the traditional innovation presupposes the rupture with economy development, and which cause and implementation of concrete and companies, the creative businesses require the markets and the status quo. That is why people’s productive inclusion, prioritizing effective public policies: the availability and access to funds for the artistic innovation must be supported by those in a social vulnerability condition, achieving its purposes. Despite of the the State, which must guarantee, through through the professional education and 1st Challenge – Information and data unquestionable role and function assumed public policies, the cultural products and capacitating, and the creation of work and survey of the Creative Economy by the furtherance public notices, it is services not subject to the market laws. income opportunities. known that the same represent a single To assume the creative economy as Further to such productive inclusion Currently, in Brazil, the data face of the investment in culture that may a vector of development, as an innovation process, fundamental to the social surveyed on the national creative economy and should be amplified in the country. generating cultural process, is to assume it inclusion, the access to creative goods are insufficient to the effect of allowing a The loan portfolios granted by in its dialogical dimension, that is, on the one and services also emerges as a premise broad understanding of its characteristics development and furtherance agencies side, as an answer to the market demands, to citizenship. A population without and potentials. The major portion of the and public and private banks operative in and on the other side, as a breach thereof. access to the cultural consumption and existing surveys is limited and localized, the country are basically formed by credit enjoyment is amputated in its symbolical preventing the development of deepened takers engaged in traditional industries. dimension. To such effect, social inclusion 3.4. Social Inclusion analysis as to the nature and impact The difficulty that creative businesses preponderantly means right to choose of the creative sectors in the Brazilian have when it comes to the offering of In Brazil, where the unevenness and right to access the Brazilian creative economy. Another problem refers to the collaterals for obtaining credit is clear. of educational and work opportunities is goods and services. fact that most of such studies arise from How to contribute with collaterals to a loan secondary data3, or even correspond availing of intangible assets? Add to that to estimates that not always match the banks’ despair in entering into relations with reality. Despite of the existence of with quite different business formats than some indicators, the absence of surveys those they are used to. The difficulties extensively contemplating different go since the lack of understanding of the industries of such economy prevents operation times and dynamics of such us from knowing and acknowledging companies for determination of suitable vocations and opportunities to be terms and grace periods, to the lack of reinforced and encouraged through understanding of social and cultural codes consistent public policies. of the economic agents engaged in such

3 Data arising from preexisting studies and surveys, which have not necessarily been developed with the purpose of obtaining specific information and directed to the field of interest, giving rise to a not always proper, timely, or complete understanding.

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segments. Such lack of understanding integrating several productive chains, exhibitions that shall itinerate in the national right to use of creative goods and services also occurs from the point of view of the are skilled to maintain relations with the and international spheres are extremely still cause polemics due to the complexity creative entrepreneurs and professionals creative sectors. charged by taxes and customs duties; the of the theme. not used or unprepared to manage their failure to acknowledge certain activities as Therefore, it becomes necessary own businesses. 4th Challenge – Infrastructure of professions prevent the creative worker to ground such discussions to the creation, production, distribution Further to the financial furtherance, to have access to labor and social security effect of advancing and causing a legal / circulation and consumption / the furtherance to the acknowledgement, enjoyment of creative goods and benefits and rights; matters of more flexible framework favorable to the development development, and the replica of social services intellectual property and regulation of the of creative sectors. technologies also arises as structuring to the creation and development of It is impossible to think of such businesses most of all organized standardized public policies to all creative by independent professionals and micro sectors when the existence of a diversity of and small-sized formal and informal cultural practices, productive processes, and companies. The creative management technologies used is manifest. It is enough to of collective, networks, collaborating analyze the steps of the creation, production, or cooperative organizations, with distribution / circulation and consumption / or without profit purposes, formal or enjoyment cycle of the different industries informal, has been consolidated as an to perceive the different contexts and levels inclusion, innovation, and sustainability of development. If, for the artesian market, alternative of the initiatives of creative the infrastructure required to product sectors. distribution is directly connected with the transport logistics for taking part at fairs; 3rd Challenge – Education for creative for the electronic game developers’ market, competences the speed of the broad band connection directly impacts the agility and efficiency of The debate on the education to the service and the quickness of the process the development of creative competences of the online product distribution. Thus, the deserves attention and deepening. The creation of policies suitable to such different construction of competences goes much realities and needs becomes a challenge. further than the construction and diffusion Historically, the cultural public furtherance of contents having a technical nature, has privileged the production step, involves a multiple and transdisciplinary placing the furtherance to the circulation / look integrating sensitiveness and distribution into a background plan, which is technique, entrepreneurial attitudes and deemed the main bottleneck of the creative postures, social and of communication goods and services market. skills, understanding of social-cultural and market dynamics, political analysis and 5th Challenge – Creation / adequacy capacity of articulation. of Legal Landmarks for the creative Such professional, with that kind sectors of education, is still poorly found in our country. There is a great deficit of offers The absence of tax, social security, and possibilities of qualification to such labor, and intellectual property legal effect. Great artists need knowledge of landmarks satisfying the specificities the creative market dynamics and flows. of Brazilian creative businesses and On the other hand, very few professionals, professionals is manifest. Visual arts’

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became required. An important point is to • To support the leveraging of the 5. The Secretariat of the understand that due to the amplification of creative product export; the scope of the Culture Economy to the • To support a greater circulation and Creative Economy Creative Economy, such guidelines have distribution of creative goods and also been amplified. Therefore, where one services; read, worker of the culture, it should be read • To regionally decentralize the creative worker. Where one read culture distribution of resources intended to of economy, it should be read creative creative enterprises, causing a greater economy. access to credit facilities (including 5.1. Background (“PNC”) – “To amplify the participation of Below, we described the purposes of the micro-credit); the culture in the socioeconomic sustainable the Secretariat of the Creative Economy, To amplify the production, distribution In parallel to the construction of the development” was lack of public policies for • aligned to the guidelines of the Strategy 4 / diffusion and consumption / Brazilian creative economy concept, to the becoming effective. Such strategy starts of the Brazilian National Culture Plan: enjoyment of creative economy goods creation of the guiding principles to the public to be assumed by the Secretariat of the and services; Creative Economy as its greatest goal. policies to be conducted by the Secretariat of Capacitation and assistance to the the Creative Economy, to the determination worker of the culture (creative worker) Cultural Tourism of the scope of action and clearness of the 5.2. Mission challenges to be faced, the institutional, • To cause education to such The cultural tourism is fundamental organizational, and managing structure of The mission of the Secretariat of creative competences through the to the social-economic development of the the new Secretariat was conceived. the Creative Economy is to conduct the capacitation of professionals qualified country. However, to perceive it as a sole The Brazilian National Culture Plan formulation, implementation, and monitoring to the creation and management of outstanding intersectorial interface to be (“PNC”) was the starting-point to the of public policies for the local and regional creative businesses; highlighted in the Brazilian National Culture Secretariat creation, since it was enacted development, prioritizing the support and • To generate knowledge and spread Plan seems a limiting one to us, since by the Law no. 12.243, of 12/02/2010, and, furtherance to the professionals and micro information on creative economy; culture, and, more specifically, the creative mainly for corresponding to the birth of and small-sized Brazilian creative companies. economy, has a transversal nature in relation the process of institutionalization of public Encouragement to development of the to many other sectors. Thus, further to the cultural policies in the creative economy 5.3. View Culture Economy (Creative Economy) cultural tourism, we consider the following area, more specifically in the culture as purpose of the Secretariat of the Creative economy field. The Secretariat of the Creative • To conduct and give support in the Economy (“SEC”): The eight years of the Lula Government’s Economy shall be the division liable for preparation of public policies to administration were fundamental years in relocating the Ministry of Culture in the enhance and develop of the Brazilian To promote intersectorial the Brazilian civil society possession-taking Federal Government, effectively and creative economy; • development to the Creative process, which has taken active part in efficiently contributing to make the culture • To articulate and conduct the mapping Economy. the preparation process for the Brazilian a strategic axis of development of the process of Brazil’s creative economy Brazilian State. in order to identify vocations and National Culture Plan (“PNC”), which Economic Regulation (Legal Landmarks) document determines the understanding of opportunities for the local and regional the culture from symbolical, citizenly, and 5.4. Purposes development; • To put into effect mechanisms directed economic dimensions, the latter constructed To further the identification, creation, • to the institutional consolidation of from the understanding of the culture as an As the mission of the Secretariat of the and development of creative poles in regulatory instruments (intellectual, instrument of furtherance of the sustainable Creative Economy is directly associated to order to generate and enhance new labor, social security, tax, administrative, social-economic development. the accomplishment of the Strategy 4 – “To businesses, work, and income in the and constitutional rights). The symbolic and citizenly dimensions amplify the participation of the culture in the creative industry field; advanced a lot in Lula’s Government, but the socioeconomic sustainable development”, • To cause the articulation and economic dimension, related to the strategy the establishment of goals in lined with the strengthening of the micro and small- 5.5. Organizational Structure 4 of the Brazilian National Culture Plan guidelines included in that very Strategy sized creative businesses;

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The organizational structure and new business and credit models for culture, development of studies and surveys, and • Studies and Surveys: The monitoring competences of the Secretariat of the whether individually or in partnership with proposition of new legal landmarks for of the Brazilian Creative Economy shall Creative Economy were elaborated to put public or private bodies; and potentiating the creative sectors. be made through this programmatic its goals into effect. In a first moment, the line, by means of the production / activities relevant to this new body were Article 23 – The Direction of - The Entrepreneurship, Management, systematization of studies and surveys surveyed, present in the description of Development and Evaluation of Credit and Innovation Direction – turned to on different creative sectors and their Mechanisms shall: competences of the existing secretariats in the microeconomic aspects, from the relative participation in the economic the Ministry of Culture, according to Decree implementation of programs and projects and social structure of the country. I – implement, in line with financial no. 6835, of 2009, which addresses the for the technical and economic furtherance Such studies shall be conducted both institutions, whether public or private ones, current structure of the Ministry of Culture – of creative businesses and professionals, internally and through partnerships credit mechanisms for activities of the Articles 9, 21, and 23, as we can verify below: through incubators, service bureaus, with survey institutes. cultural industry economy; credit facilities, support to social network • Legal Landmarks: Such aspect shall II – map, diagnose, propose, and implement “Article 9 – The Secretariat of the management technologies, collectives and operate in the construction / adequacy new credit and investment modalities for Cultural Policies shall: associative organizations, and education of tax, social security, labor, and cultural programs and projects; for creative competences further to the intellectual property legal landmarks IV – cause the capacitating of the III – coordinate the programs, actions, and furtherance of national creative goods and meeting the specificities of the Brazilian entrepreneurial agents, cultural companies studies regarding the development of culture services in the foreign market. creative companies / professionals. In and managers, in order to assure the economic activities, information, cultural the current reality, the legal landmarks access to furtherance and encouragement policy surveys and statistics, and propose 5.5.1. Action Vectors are neither sufficient nor suitable to mechanisms.” measures to regulate the cultural laws; the industries’ needs, preventing their The vector – Development effective strengthening and growth. The establishment of such VIII – plan, coordinate, and evaluate policies and Monitoring (macroeconomic or competences, in the aforementioned decree, guided to the culture economy; and structuring) contemplates all actions that showed the prognostic of a policy that shall allow the creation of a favorable On the other hand, the vector currently takes shape and emerges from the Article 21. The Secretariat of the Culture ambience to the development of the – Entrepreneurship, Management, institutionalization of the Secretariat of the Furtherance and Incentive shall: creative economy, considering the and Innovation – (microeconomic or Creative Economy (“SEC”). institutionalization processes of creative entrepreneurial) contemplates all actions Continuing the process of reflecting II – develop, propose, and carry out credit territories, the articulation and conduction to be developed and directly implemented in on the organizational outline for the and cultural infrastructure implementation of studies and surveys, further to the the field, being connected with the creative Secretariat, we opted for an organic format mechanisms intended to propitiate the causing of the debate and elaboration of business, the entrepreneur, and professionals, that assured the integration of areas allowing sustainable development of the cultural proposals for suiting legal landmarks. Such in accordance with the following axes: the development of a more robust and production; actions are classified in accordance with consistent work. Thus, it was decided that the following axis, detailed below: • Entrepreneurship in Creative the Secretariat of the Creative Economy VII – cause the collection of data, mapping, sectors: Such area’s engine is the (“SEC”) should be structured from two studies, and researches around the public • Creative Territories: In such field, the technical and financial furtherance to actuation vectors: one conceived within culture credit and furtherance models and conception and implementation of creative businesses, to be developed a macroeconomic perspective, and the systems; methodologies, actions, projects, and from the support, furtherance, and other under a microeconomic perspective. VIII –plan, develop, and support actions programs allowing the arising and encouragement to the creation Each of such vectors formed two boards: aimed at the creation of cultural agents and institutionalization of creative territories of incubators, service bureaus, qualification of encouragement, furtherance, (districts, productive poles, cities, and specific credit facilities for - The Development and Monitoring Direction and credit systems for culture; and creative bays) shall be worked. organizations of this field. – turned to macroeconomic aspects, IX – propose, develop, and implement credit Spaces having potential to be deemed • Education for Creative Competences: from the implementation of programs tools of the cultural activities, intended to creative territories, and, as such, which Such field works with the furtherance and projects having a structuring nature: the strengthening of their productive chains; may enhance labor, job, and income and articulation of education institutionalization of creative territories, X – plan, propose, develop, and implant generation, shall be prospected. programs for the development of

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creative and innovative competences of collectives, creative collective 5.6. Competences of the Secretariat creation of mechanisms directed to in the technical and management networks and professional of the Creative Economy the institutional consolidation of legal areas, aimed at creative professionals cooperatives, intended to strengthen instruments in the creative economy field; and businesses, along with public the Brazilian creative economy from In accordance with the actuation IX. To plan, coordinate, and conduct and private universities, technical innovative, associative, cooperative, vectors and axes formerly described, the activities related to the entering into and and vocational schools, and profitless inclusive, and sustainable practices. Secretariat of the Creative Economy is account for of covenants, agreements, and organizations. organized from the compliance with the other congenerous documents, including • Networks and Collectives: Such In FIGURE 9 below, a synthesis of following competences: those involving the transfer of funds within programmatic line shall cause the the actuation vectors and axes of the the scope of their actuation area; technical and financial furtherance Secretariat of the Creative Economy I. To propose, conduct, and subsidize X. To plan, propose, formulate, and to the creation and furtherance (“SEC”) is provided. the preparation, implementation, and support actions turned to the education of evaluation of public plans and policies for creative professionals and entrepreneurs, the development of the Brazilian creative and the qualification of businesses of the economy; creative sectors; II. To plan, further, coordinate, XI. To plan, propose, formulate, and implement actions required to the and implement credit facilities of the FIGURE 9: Brazilian creative economy – actuation vectors and axes development of the Brazilian creative creative sectors activities, intended to economy; strengthening its productive chains; III. To articulate, with public bodies, XII. To plan, propose, formulate, and the insertion of the creative economy implement tools, business models and theme within their spheres of actions; social technologies of creative enterprises, IV. To subsidize the other bodies and whether individually or in partnership with entities of the Ministry of Culture in the public or private bodies; formulation process of public policies XIII. To support actions for intensification connected with the Brazilian creative of technical and management interchanges economy; of the creative sectors between Brazil and V. To accompany the preparation of foreign countries; international treaties and conventions on XIV. To create support programs and creative economy, in articulation with other projects to the creative industry activities, public and private organs and organisms; their professionals and entrepreneurs, so as VI. To articulate and conduct the to cause the articulation and strengthening mapping process of the Brazilian creative of micro and small-sized creative businesses; economy with the purpose of indentifying XV. To further the Brazilian creative vocations and opportunities for local and goods and services in national and regional development; international events, in articulation with VII. To further the identification, the Ministry of Foreigner Affairs; creation, and development of poles, cities, XVI. To represent Brazil in international and creative territories in order to generate organisms and events as regards and enhance new businesses, jobs, and the creative economy industries and income in the creative industry field; development, in articulation with the VIII. To articulate and propose the Ministry of Foreigner Affairs.

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The methodology adopted in the at each meeting, whose ideas were put 6. The Plan of the Secretariat planning process had the construction together by each group reporter. Finally, of conceptual landmarks and guiding the third part corresponded to the of the Creative Economy – principles as starting points to ground the consolidation of the work made by the institutionalization of a national policy for groups from the reporters’ presentation 2011 to 2014 creative economy. for all participants of the meeting. Bilateral In the other steps of the planning, meetings were timely held when any guest the methodology had as conducting line the institution could not attend the meetings. interlocution with the institutional partners It is important to highlight some 6.1.Concept human production that shall this time be a from the proposition of strategies and aspects resulting from such methodology, material element in the economic definition actions grounded on the five big challenges which subsidized the policies proposed by The 1988 Brazilian Constitution of such new goods and services. listed by the Secretariat of the Creative the Plan of the Secretariat of the Creative addresses the Right to Development as Fruit of an integrated action between Economy (“SEC”): the Creative Economy Economy (“SEC”): sharing of different a fundamental right, based on positive the Ministry of Culture and several public and information and data survey, the articulation looks on challenges of the Secretariat of provisions of the State that shall concretize private partners, the purpose of the Plan of and encouragement to the furtherance of the Creative Economy (“SEC”), retaken the economic, social, and cultural democracy, the Secretariat of the Creative Economy is creative businesses, education for creative of sector strategies formerly identified by in order to cause, in practice, the human to formulate, implement, and monitor public competences, support to the production, the Ministry of Culture, identification of being dignity. Nevertheless, such legal policies for a new development, grounded circulation / distribution and consumption / different initiatives existing in the country, guarantees did not prevent the decadence on the encouragement to the creativity of enjoyment infrastructure of creative goods turned to the furtherance of the creative of the development models focused on the Brazilian entrepreneurs, as well as on the and services, and the creation and adequacy economy, and which may be perfected mere gathering of wealth and growth of the innovation of their businesses. of legal landmarks for creative sectors. and amplified from the sum of efforts of a Gross Domestic Product (“GDP”), whose The planning, in most of its steps, number of public and private partners, and results only reinforce the abyss between 6.2. Structure and methodology for the was basically built at meetings having, the alignment of programs of the Brazilian the rich and poor, specially, in peripheral preparation of the Plan in average, a one-day work meeting, Federal Government, from the identification countries. and conducted under the following of transversal and intersector actions of The Plan of the Secretariat of the The Plan of the Secretariat of the methodology: the first part of the meeting several ministries that may be integrated to Creative Economy assumes, in the Brazilian Creative Economy was prepared in the was reserved to presentations of the benefit of the strengthening of the Brazilian Federal Government, the challenge of course of the time period comprised Secretariat of the Creative Economy creative economy. constructing a new development alternative, between April and July, 2011. Intended (“SEC”) and each institution invited. In the In such perspective, the strategic grounded on the cultural diversity, social to the implementation of public policies second part, the participants gathered in planning of the Secretariat of the Creative inclusion, innovation, and sustainability. And, transversal to a number of branches of the groups to debate, suggest, and propose Economy resulted in a group of policies, therefore, it elects the creative economy as a public power, private initiative, and civil strategies and actions in accordance with guidelines, and actions comprising the steps development axis of the Brazilian State. society, the Secretariat of the Creative the purposes of the agenda proposed provided in FIGURE 10 below: In the society of the knowledge and Economy (“SEC”) gathered, in its planning new technologies, the economy of culture process, experts and institutional partners is getting amplified, transfiguring itself into such as furtherance and development a creative economy. Such new economy, agencies, state-owned companies, which surpasses the artistic languages and organizations of the S System, international popular cultures, starts to dominate new bilateral and multilateral organisms, industries (new media, games, software secretariats and culture foundations, programs), and to add new values to the further to the participation of 16 ministries traditional industries (design, architecture, and other Federal Government bodies and fashion), nowadays obtaining great the secretariats and bodies connected importance in the several regions of the with the very System of the Ministry of planet. It is the symbolic dimension of the Culture (“MinC”).

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FIGURE 10: Steps of the Strategic Planning of the Secretariat of the Creative Economy Step II The identification of partnerships and Survey of demands of the source of funds turned to the promotion and Brazilian creative sectors furtherance of the Brazilian creative economy grounded such planning step. The Secretariat of Acknowledging the importance of the Creative Economy (“SEC”) counted on the the dialogue and proposition levels created contribution of representatives of institutional by the Ministry of Culture, which allowed, in partners in the proposition of structuring the latest few years, wide social participation strategies and actions for overcoming the in the construction of cultural policies, the main challenges established by the Secretariat reports of sectorial chambers and collegiums, of the Creative Economy (“SEC”). the existing sectorial plans, and the sectorial strategies of the II National Brazilian Purpose: Identification of partnerships Conference for Culture (2010) were taken as and sources of funds for promotion and reference for diagnosing the Brazilian creative furtherance. field (2005 to 2010). Starting from such Accomplishment: May 09, 2011. reference base, the team of the Secretariat Participants: Brazilian National Bank of the Creative Economy (“SEC”) surveyed for Economic and Social Development sectorial demands related to the challenges (“BNDES”), Banco do Brasil, Brazilian Federal of the Secretariat of the Creative Economy Savings and Loans Bank (“CEF”), Banco (SEE APPENDIX I). Complementarily, do Nordeste [Bank], Banco da Amazônia the Secretariat of the Creative Economy [Bank], Petrobras, Eletrobras, Correios (“SEC”) also surveyed demands through the [The Brazilian Post Office and Telegraph application of questionnaires with the sectorial Company], Furnas, The São Francisco representatives of the Brazilian National Hydroelectric Company (“CHESF”) , Council for Cultural Policies (“CNPC”). Brazilian Service for Support of the Micro and Small-Sized Companies (“SEBRAE”) Purpose: Understanding of the creative field / NA [National Section], Brazilian Service sectorial demand. for Support of the Micro and Small-Sized Period of Accomplishment: May, 2011. Companies (“SEBRAE”) / RJ [State of Rio Participants: Team of the Secretariat of de Janeiro Section], Brazilian National the Creative Economy (“SEC”) (survey of Service for Commercial Training (“SENAC”) Step I for their notorious actuation in the field of secondary sources) and representatives of / NA [National Section], The Brazilian Meeting with experts cultural policies on themes related to the the segments of the Brazilian National Council National Confederation for Industry (“CNI”) creative economy. for Cultural Policies (“CNPC”) (conduction of / Social Service for Industry (“SESI”) / NA questionnaires). [National Section], Social Service for Trade Whereas a consistent conceptual Purpose: Construction of conceptual (“SESC”) / SP [State of São Paulo Section], basis is the starting point to the landmarks and guiding principles. United Nations Educational, Scientific and implementation of efficient, effective, and Period of accomplishment: April 18, May 3, Cultural Organization (“UNESCO”), United consequent public policies, the first step was and June 06, 2011. Step III Nations Institute for Training and Research grounded on the debate and deepening of Participants: Tânia Bacelar, Isaura Botelho, Meeting with institutional (UNITAR), Organization of Ibero-American theoretical bases from the accomplishment Paulo Miguez, César Bolaño, Henrique Saravia, partners: furtherance States (“OEI”), Study and Project Financer of rounds of conceptual discussions with Ana Carla Fonseca; Frederico Barbosa, and development agencies, (“FINEP”), National Council of Technological researchers, academics, scholars, and Cristina Lins, Jurema Machado, Adolfo Melito, international bilateral and and Scientific Development (“CNPq”), and professionals with nationwide reputation Lala Deheinzelin, and Lia Calabre. multilateral bodies Brazilian Trade and Investment Promotion Agency (“APEX”).

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See below the consolidation of the strategies proposed by such partnerships according to »» To diversify and combine credit mechanisms, inducing to the creation of alternatives suitable the challenges of the Brazilian creative economy: to the demands and to profile of the creative professional and entrepreneur; »» To articulate, with the state and municipal secretariats for culture, the furtherance to cooperatives, networks, and collectives, through culture funds; 1st Challenge »» To cause the institutionalization of groups and associations of artists to enhance the collective Information and data survey on Brazilian Creative Economy creation and production work, making feasible the companies’ furtherance; »» To create calls for bids to non-institutionalized groups for the development of its actions, binding part of the received fund to the institutionalization thereof; » To retake the former initiatives for survey of primary data on the Brazilian culture / creative » »» To encourage the creation of a software program for micro and small-sized companies and economy through satellite account of the Ministry of Culture (“MinC”) / Brazilian Institute for individual entrepreneurs engaged in the creative economy, allowing accounting for without the Geography and Statistics (“IBGE”); intermediation of accountants (example: software program of the Internal Revenue Service for To identify existing studies / surveys subsidizing an update of the state of art of the area, »» income return); according to the study of the Federation of Industries of the State of Rio de Janeiro (“FIRJAN”), »» To further events turned to local cultural vocations in order to enhance the regional economy conducted in 2008, on the Brazilian creative industry chain; from new investment alternatives in new creative businesses; » To survey, with the Brazilian Trade and Investment Promotion Agency (“APEX”), all sectorial » »» To articulate, with furtherance agencies, the credit of projects aimed at the generation and competition studies; spreading of the knowledge on innovative creative processes and products; » To conduct qualitative researches in partnership with the Institute for Applied Economy » »» Strengthening of entities and associations being part of productive chains of the cultural / Research (“IPEA”) and the Brazilian Institute for Geography and Statistics (“IBGE”), creating creative sectors; indicators allowing us to measure such economy (quantitative and qualitative ones); »» To further the creation and strengthening of incubators turned to creative competences. »» To valorize and further regional researches with methodologies capable of being applied; »» To map the informal creative economy through primary researches in the Brazilian municipalities (tearing apart the big and medium-sized ones from the small-sized ones) in partnership with the city halls; 3rd Challenge »» To map the creative economy of more structured productive chains through the industries’ Education for creative competences national associations; »» To search, with furtherance institutions, the funding of researches turned to the creative »» To work from the already existing mapping of cultural manager capacitating courses economy. within the scope of the Ministry of Culture (“MinC”) and partners, updating it under the creative economy perspective; »» To encourage the contents related to the creative competencies to be incorporated to 2nd Challenge the already existing programs of the Ministry of Education; Articulation and encouragement to the furtherance of creative businesses »» To identify the already existing qualification programs and incorporate contents regarding

the creative competencies; »» To further the capacitating of public and private managers in public and management To create specific calls and guide creative professionals to the use of such micro credit facilities »» policies for the creative economy; already made available by the official banks; »» To further the capacitation of professional and managers of creative companies in To retake the articulation of the Ministry of Culture (“MinC”) with official banks, through the »» partnership with the S System, universities, technological centers, social organizations Secretariat of the Creative Economy, with the purpose of creating funding alternatives to each and furtherance institutions; culture productive chain; »» To leverage the experiences for qualification of intermediate institutions between the To identify the already available funding mechanisms, including those managed by the Ministry »» vocational schools and social initiatives (E.g.: – Education Program for the Circus Artist of Culture, their problems and solutions; (“PROFAC”)); » To articulate, with the state-owned financial institutions, risk studies on creative markets, in » »» To articulate, with furtherance institutions, the support to the creation of human resources, order to subsidize credit policies specific to the creative sectors; further to mechanisms for the attraction, fixing, and interchange of qualified human resource To search for references in the models of the credit facilities to companies of technological / »» professionals (“RH”) engaged in regional bottlenecks; innovative basis (nonrefundable credit funds and risk investments – venture capital) to guide »» To promote strategies for encouraging continued education and their diversification new credit facilities to creative businesses; together with public and private institutions;

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»» To make incubators and research / technology centers of the already existing culture / FIGURE 11: Intersectorial articulations with institutional partners, furtherance and creative economy more agile to amplify the education / qualification experiences in the development agencies, bilateral and multilateral bodies creative business management area. »» To retake the experience of partnership among the Secretariat of the Social Communication (“SECOM”), the Ministry of Culture (“MinC”), the Social Service for Trade (“SESC”), and government-owned companies, occurred in the period comprised between 2009 - 2010, turned to the circulation of cultural events in proper spaces, adapting and reformulating the experience to the effect of eradicating the regional concentration and budget appropriation problem; »» To articulate and integrate in network in equipment made available by the S System in order to given more visibility to the creative goods and services; »» To contribute logistic resources and funds from public institutions in goods and services that achieved a certain threshold of circulation / enjoyments as manner of recognizing the creative entrepreneur; »» To further regional and national itinerant tours of creative goods and services; »» To further networks and collective circuit tours; »» To institute social considerations for the projects furthered by the Ministry of Culture (“MinC”) and encourage such kind of consideration among furtherance agencies; »» To support the circulation / distribution of goods and services of the culture points; »» To multiply experiences such as that of the Brazilian Workmanship Reference Center (“CRAB”); »» To encourage the inclusion in calls for bid of government-owned companies, of actuation lines turned to the creative economy, with conditionings / considerations encouraging the circulation and strengthening of local markets; »» To create an information system that facilitates the interaction of different contributors to the benefit of the divulging of events and actions, circulation, etc.; »» To suit and perfect the legal landmarks that shall favor the production, circulation / distribution and consumptions / enjoyment cycle of creative goods and services.

In FIGURE 11, in a synthetic manner, we may ascertain all connections established with such partners. Step IV between the policies of partner ministries Meetings with with the actuation axes of the Secretariat of partner ministries the Creative Economy (“SEC”) to the effect of the conducting joint actions. In order to cause the intersectoriality of programs and action within the scope of Purpose: Identification of partnerships and the Brazilian Federal Government around Alignment of programs NOTES FROM FIGURE 11 Service for Industrial Training (“SENAI”) Period of Accomplishment: May 16, 2011. 7 Organization of Ibero-American States policies for the creative economy, the 1Secretariat of the Creative Economy (“SEC”) - Ministry of 8 United Nations Institute for Training and Research Participants: Ministry of Development, Culture (“MinC”) 9 United Nations Educational, Scientific and Cultural Secretariat of the Creative Economy (“SEC”) 2 Brazilian Service for Support to Micro and Small-Sized Organization Industry, and Foreign Trade, Ministry of Companies 10 Study and Project Financer sought for lining up programs and articulate 3 Brazilian National Service for Cooperative Training 11 Brazilian National Bank for Economic and Social Development Labor and Employment, Brazilian Ministry 4 The Social Transport Service (“SEST”) / Brazilian National 12 The Brazilian Post Office and Telegraph Company partnerships with 16 ministries participating Service for Transport Training (“SENAT”) 13 São Francisco Hydroelectric Company of Justice, Ministry of the Environment, 5 Social Service for Trade (“SESC”) / Brazilian National Service 14 Institute for Applied Economy Research of its planning process. The meeting allowed for Commercial Training (“SENAC”) 15 Brazilian Institute for Geography and Statistics Ministry of Tourism, Brazilian Federal Sport 6 Social Service for Industry (“SESI”) / Brazilian National 16 National Council of Technological and Scientific Development the identification of existing interfaces

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Department, Ministry of Communications, of the Communication, and Secretariat of the Education and qualification of professionals engaged Education for Creative in companies and businesses of Fashion, Design, and Ministry of Science and Technology, Brazilian Micro and Small-Sized Companies. Competences Workmanship. Ministry of Education, Ministry of Foreign Furtherance to Furtherance to the innovation and competitiveness Affairs, Ministry of Cities, and Ministry of See below the consolidation of joint Entrepreneurship of companies of the creative sectors in an articulated manner with the Brasil Maior [a Bigger Brazil] Program Social Development, Presidency Cabinet actions proposed by the partner ministries, Partnership in the development and accomplishment of – Secretariat of the Strategic Matters, according to the action axes of the Bienal Brasileira de Design [The Brazilian Biennial Design Fair] Ministry of the Secretariat of the Women Affairs, Secretariat Secretariat of the Creative Economy: Partnerships with the Brazilian National Fashion System Development, Industry, Furtherance to and Foreign Trade – Entrepreneurship Furtherance to associative and cooperative workmanship MDIC organizations.

Ministry / Secretariat Action Axis of the SEC1 Partnership with / Alignment of federal Programs Strengthening and amplification of the foreign exchange of products of creative sectors. Secretariat of the - Support in the institutionalization of an interministerial Identification and furtherance of the Local Productive Strategic Affairs level of the creative economy for development. Arrangements (“APLs”) of the creative sectors Communication strategies for Plano Brasil Criativo [The Creative Territories Mapping of regional vocations of the cities – Secretariat of the - Creative Brazil Plan] and dissemination of the Creative Social Communication headquarters of the World Cup and qualification of the Economy theme as a vector of the development. spaces via urban design. Furtherance to Furtherance to the production and distribution of the Education and qualification of professionals engaged in Entrepreneurship workmanship produced by artisan women. companies and businesses turned to the development of electronic games and new media. Secretariat Of The Support to the management of companies and Education for Creative Competences Women Affairs Education for Creative associative and cooperatives practices. Education and qualification of professionals engaged in Competences Ministry of Science, companies and businesses of the Creative sectors via Support to the production of contents and digital media. Technology and Technological Vocational Centers (“CVTs”). Innovation – MCTI Furtherance to Furtherance to networks and collectives via applications Furtherance to Furtherance to the micro and small-sized companies Entrepreneurship and tools of the digital environment. Entrepreneurship (“MPEs”) of creative sectors Institutionalization of creative territories in articulation Secretariat of the Education for Creative Management of companies and businesses of the creative Creative Territories with the Cidades Inteligentes [Clever Cities] project of Micro And Small-sized Competences sectors. the Ministry of Science and Technology (“MCT”). Companies Amplification of the suiting of the General Law for Micro Support to the installation of international service agencies Legal Landmarks and Small-Sized Companies (“MPEs”) to benefit the small Ministry of Foreign Furtherance to – Criativa Birô Internacional [International Creative Bureau] creative companies Affairs Entrepreneurship – for support to creative entrepreneurs and professionals aiming at actions between Brazil and other countries. Aligned with the Brasil sem Miséria program [Brazil without Extreme Poverty], to cause capacitating courses Ministry of Social Education for Creative Implementation of the Brazilian National Broad Band Plan in aiming at the productive inclusion of the youth included order to qualify the infrastructure of the creative territories. Development – MDS Competences in the poverty map, from creative activities and local vocations. Creative Territories Institutionalization of the creative territories in articulation with the Cidades Digitais [Digital Cities] Education for Creative Education and professional qualification with funds of the project of the Ministry. Competences Fund for Worker’s Support (“FAT”) Ministry of To support the regulation aimed at the Radio and Via Secretariat of the Joint Economy – furtherance to Ministry of Labor And Furtherance to Communications Television to the effect of furthering the development of associative organizations (networks and collectives) and such industries in the country. Employment – MTE Entrepreneurship to the joint micro credit / popular banks. Legal Landmarks Implementation of the Brazilian National Digital Creative Identification and record of occupations of the creative Contents Plan. Regulatory Landmarks sectors in the Brazilian Occupation Classification. Education for Creative Installation of call-centers such as education spaces turned to Education for Creative Articulation with institutions of vocational, technological, Competences new media and digital contents industries. Competences and undergraduate education, both in formal and distance attendance systems. Ministry of Cities Creative Territories To articulate the institutionalization of creative territories. Ministry of Education – MEC Partnerships in georeferenced mapping conducted by the In partnership with the Economia da Experiência Ministry of Education (“MEC”) to the effect of identifying Studies and Researches [Experience Economy] Project, to conduct competition Studies and Researches regional vocations in communities surrounding the public studies identifying inductive destinations to the regional school network. tourist development. Ministry of Tourism Development of actions for qualification of territories of In convergence with Turismo Comunitário [Communitarian Creative Territories World Cup headquarters cities –of the Olympic Games Creative Territories Tourism] and Cidades do Turismo de Experiência [Cities of headquarters city. the Experience Tourism] projects, to articulate and further the institutionalization of creative territories. Brazilian Federal Education for Creative Education and qualification of professionals engaged in Sport Department Competences companies and businesses of the creative sectors. Furtherance to Strengthening of sociobiodiversity chains and productive Entrepreneurship arrangements connected with creative sectors. Identification of potential and regional vocations Ministry of Furtherance to for furtherance to the creation and development of Environment – MMA Furtherance to Encouragement and incentive to the recycling of solid Entrepreneurship businesses of the creative sectors. Entrepreneurship wastes such as raw materials of the creative products. Articulation with the Brazilian Ministry of Justice (“MJ”) to Ministry of Justice 1 Secretariat of the Creative Economy (“SEC”) Legal Landmarks the effect of qualifying the legal landmarks associated to – MJ the themes: tax, labor, and internet use themes.

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In FIGURE 12, in a summarized manner, we may see all connections set forth with the partner ministries.

FIGURE 12: Intersectorial articulations with partner ministries

Design

SEC - MinC SEC - MinC

Cidades Digitais

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Step V Participants: Secretariat of the Cultural Secretariat/ Related Secretariat to the System of the Ministry of Joint Actions Meetings with bodies of the Policies (“SPC”), Secretariat of the Audiovisual Culture (“minc”) System of the Ministry of Affairs (“SAV”), Secretariat of the Citizenship »» Elaboration and monitoring of goals and indicators of the Brazilian Culture (“MinC”) and Cultural Diversity (“SCDC”), Secretariat National Plan for Culture (“PNC”) of the Furtherance and Incentive to Culture »» Construction of the Brazilian National System for Cultural Information and Indicators (“SNIIC”) from the taxonomy review, among other activities. After the steps of construction with (“SEFIC”), Brazilian National Art Foundation »» Supply of data to the Brazilian National System for Cultural Information external partners, the alignment of programs (“FUNARTE”), Brazilian National Institute and Indicators (“SNIIC”) through the articulation with institutes for the development of researches, granting of subsidies to the follow-up and and the articulation of partnerships were for Historic and Artistic National Heritage monitoring of the goals of the Brazilian National Plan for Culture (“PNC”). sought in the scope of the very System (“IPHAN”), Brazilian National Museum Institute »» Support to the Covenant for development of the free software (“UFUABC”); of the Ministry of Culture (“MinC”). The (“IBRAM”), Fundação Palmares Cultural »» Support to the sectorial plans the Secretariat of the Creative Economy planning for such step was made trough [Cultural Palmares Foundation], Fundação (“SEC”) is liable for. bilateral meetings between the Secretariat Casa de Rui Barbosa [The Rui Barbosa’s »» Actuation in the certification of masters, artists, and technicians, of the Creative Economy (“SEC”) and Foundation], Board for International Affairs through the program of the Association for Certification (“CERTIF”) / Ministry of Education (“MEC”), and creation of vocational courses to other offices, related offices, and regional (“DRI”), and Regional Representations. Secretariat of the Cultural the satisfaction of the demands informed by the System of the Ministry Policies (“SPC”) of Culture (“MinC”) and curricular and institutional development for representations, for proposing joint actions. gathering artistic and technological knowledge. See below the consolidation of joint »» Policy for funding the research and production of educational material Purpose: Articulation of Partnerships / actions proposed by the Secretariats and aiming at the teaching of arts in formal schools – organization and availability of cultural contents for teachers and students. Program Alignment. organizations related to the System of the Development of digital technologies for educational use. Period of Execution: May to June, 2011. Ministry of Culture (“MinC”): »» »» Promotion and amplification of study and research fields in the Brazilian arts and culture area, encouraging reflection and production on culture Secretariat/ Related Secretariat and national development. to the System of the Ministry of Joint Actions Culture (“minc”) »» To construct policies for the creative economy working in networks. »» Participation of the Secretariat of the Economy in the Integration »» Causing cultural producers’ capacitation. Forum of the Ministry of Culture (“MinC”) / Official Banks, materialized by means of itinerating meetings with representatives of Banco do »» Support to divulging, circulation, exchange and sale of cultural / creative Brasil [Bank], Caixa Econômica Federal [The Brazilian Federal Savings products through free alternative media, and Communitarian Radios. and Loans Bank], Brazilian National Bank for Economic and Social Development (“BNDES”), Banco da Amazônia [Bank] (“BASA”), Banco »» To consolidate the Brazilian National System for Culture from the do Nordeste [Bank] (“BNB”), and Brazilian Service for Support to Micro implementation and strengthening of policies furthering the economic and Small-Sized Companies (“SEBRAE”), with cultural agents and dimension of creative sectors. local / regional producers, with the purpose of being acquainted and discussing the main needs and demands of the industries as regards »» To amplify the cultural management education and public policies contemplating concepts and contents related to the creative economy Secretariat of the Furtherance bank assistance, credit facilities, and financing. Secretariat of the Institutional and Encouragement for Culture in the program. Articulation (“SAI”) (“SEFIC”) »» Studies aiming at the knowledge of markets and/or the perspective of »» potentialities contributing to the development of furtherance actions to To support the dissemination of the Management Plan of the Secretariat of the Creative Economy the creative sectors. »» To participate in the construction of the Brazilian National Creative »» Identification and joint articulation of partners and sources of funds for promotion and furtherance, through meetings with the credit areas of Economy Plan for Development. the official banks. »» Mapping of productive chains in the scope of the programs: “Brasil Plural” [A Plural Brazil] and “Cultura Viva” [Culture Alive]. »» Participation in events, seminars, and meetings with agents, producers, cooperatives, and associations of cultural scope, in order to define the »» Identification of cultural spaces within the state or municipal scope, with use of incentive mechanisms or credit operations. potential for installation of creative bureaus, citizenship nucleus, creative residences, interchange.

»» Formulation of furtherance actions of relation between the development, culture, and environment. Secretariat of the Citizenship and Cultural Diversity (“SCDC”) »» Formulation of education actions for public and private managers, in the perspective of interfacing with the joint economy.

»» Formulation of furtherance actions for culture and citizenship vocational schools.

»» Formulation of indicators and access maps to culture. »» Budget sharing for the development of mechanisms for furtherance and inducing of pool actions, of territories and local creative arrangements.

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Secretariat/ Related Secretariat Secretariat/ Related Secretariat to the System of the Ministry of Joint Actions to the System of the Ministry of Joint Actions Culture (“minc”) Culture (“minc”) »» Sharing of data and joint mapping of the productive chain of the »» Mapping of chains and productive arrangements of industries inserted in audiovisual industry for identifying all links of the productive chain, the the arts’ field. bottlenecks of the audiovisual chain; the current and possible investors; the commercial and noncommercial audiovisual circuit; the cinema and »» Joint articulation to organize a commission to act along with the Internal audiovisual schools in Brazil; data of the import of filming equipment, Revenue Service, Ministry of Planning, Ministry of Foreign Affairs, tax burden, commercial agreements involving the industry; benefits Brazilian Ministry of Justice, and other levels to seek solutions for the / incentives by the state and the main municipalities and audiovisual bottlenecks of visual arts’ circulation abroad in connection with the incubators existing in Brazil, and audiovisual works in public domain. import tax rate, entry and exit of art works in the country;

»» Capacitation of entrepreneurs in the audiovisual industry, intended »» Performance of joint programs in furtherance to the market of creative to the creation of employment and income, as well as the industry goods and services; Secretariat of the Audiovisual sustainability. (“SAV”) »» Diffusion of the Brazilian contemporary art in the country intended to »» Capacitation for Development of new business models aimed at the the creation of market to its multiple languages through programs, improvement of the audiovisual productive chain. Brazilian National Art Foundation communication vehicles, virtual networks. (“FUNARTE”) »» To issue collective call for bid to encourage the development of Fashion »» To develop strategic actions to encourage the acquisition of art works Films, through calls for bids, for the main fashion events in Brazil, by the private initiative, institutions holding urban public spaces, encouraging the convergence of languages. museums, schools, banks, big national and multinational companies.

»» To articulate joint policy for Inducing the qualification of agents of the »» To develop programs of professional capacitation intended to the audiovisual industry for acting as logistic, technical, and operational market insertion of artist works and other creative professionals. support in mega events to take place in Brazil in 2014 and 2016. »» To encourage transversal actions with the other ministries and bodies of »» To deepen the discussion on cultural industries (and to amplify it to the Federal Government in the conduction of programs and actions to the creative economy) in the scope of the MERCOSUR [The Common insert several artistic languages in governmental accomplishments in all Southern Market] and propose concrete actions. development production and projects fields. »» To implement the seal MERCOSUR CULTURAL. »» To further and promote traditional productive arrangements attached to assets registered as historic site and/or cultural landscapes. (areas »» To hold the meeting on creative cities of the South America. protected by the Brazilian National Institute for Historic and Artistic National Heritage (“IPHAN”) considered as creative territories by »» To define a project for the call for bid of the Ministry of Planning, excellence, without the need of creating new categories. Budget, and Management (“MPOG”) – Brazil – European Union Sectorial Dialogs. »» To articulate the promotion and insertion in the territorial approach towards Heritage Culture Points. »» To hold the International Seminar on Creative Economy. Brazilian National Institute for Historic and Artistic National »» To strengthen the furtherance program to workmanship articulated with »» To participate of discussions and meetings held in the scope of the Heritage (“IPHAN”) actions in the territories of the Program for Furtherance of the People’s convention for furthering and protecting the diversity of the cultural Tradition Workmanship (“PROMOART”). expressions of the United Nations Educational, Scientific and Cultural Organization (“UNESCO”). »» To articulate the Program of Masters and Arts initially connected with the masters of the capoeira [a Brazilian leg-based martial art] with the »» To enter into partnership with Organization of Ibero-American States call for bid viva meu mestre [viva the master]. Board for International Affairs (professional management and education). (“dri”) »» Actions of furtherance to the cultural heritage related to tourist »» To define strategies for a greater integration and interchange within the destinations, historic centers, and others. scope of the Community of Portuguese-Speaking Countries. »» To make available systematized data on the Brazilian museums »» To develop bilateral actions for cooperation and exchange of (Brazilian National Museum Reference File). experiences with the countries of the South America and the Community of Portuguese-Speaking Countries (“CPLP”), in the scope »» To develop a partnership between the Secretariat of the Creative of the agreements and protocols executed by the Ministry of Culture Economy (“SEC”) and the Brazilian National Department for Diffusion, (“MinC”), especially with: Colombia, Argentina, Bolivia, Cape Verde. Furtherance, and Economy of the Museums (“DEFEM”) in order to further studies and actions regarding the institutionalization and »» To develop actions of cooperation and interchange with the United sustainability of memory points. Kingdom, having the British Council Brazil as focal point, within the scope of former understandings due to the visit of the British vice prime »» To set forth the joint articulation to the development of the minister to Brazil. methodology of sustainability of structured tours as a consequence of Brazilian National Museum the sport mega events to be held in Brazil in 2014, and which involves Institute (“IBRAM”) »» To study the implementation of bureaus of music export from the the museum industry. French experience. »» Participation of the Brazilian National Museum Institute (“IBRAM”) in the »» To study modalities of creative residences and possibilities of entering first International Seminar for Creative Economy. into bilateral covenants in such area from Colombia proposal. »» Participation of the Secretariat of the Creative Economy (“SEC”) in the I International Seminar on Museum’s Economy.

»» To identify and align demands in the museum area for definition of studies and researches with the Secretariat of the Creative Economy (“SEC”) and the Institute for Applied Economy Research (“IPEA”).

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Secretariat/ Related Secretariat Purpose: Articulation of partnership with the • 13 capital cities present: Aracaju to the System of the Ministry of Joint Actions State and Municipal Secretariats for Culture. [State of Sergipe], Belo Horizonte Culture (“minc”) Period of accomplishment: July 20, 2011. [State of Minas Gerais], Campo »» To identify and acknowledge creative territories and productive arrangement territories through literature in order to further the Participants: State and Municipal Grande [State of Mato Grosso do Sul], creation, edition, publishing, distribution, trading, and literary, musical and visual art education and interchange processes; Secretariats and Foundations for Culture. Curitiba [State of Paraná], Fortaleza • 21 states present (AL [State of [State of Ceará], Florianópolis [State »» Financing and support to researches and studies on the book economy, the publishing market, literature, measurement and education of Alagoas], BA [State of Bahia], CE [State of Santa Catarina], João Pessoa readers in their historic, sociological, economic, political, and cultural aspects developed by universities, colleges, foundations, and researches of Ceará], DF [Brazilian Federal District], [State of Paraíba], Manaus [State institutes. ES [State of Espírito Santo], GO [State of Amazonas], Recife [State of »» Furtherance to production, circulation, and distribution projects for literary periodicals (magazines, journals, almanacs, fanzines, or press and of Goiás], MA [State of Maranhão], Pernambuco], Rio Branco [State of National Library Foundation similar digital publications). MG [State of Minas Gerais], MS [State Acre], Rio de Janeiro [State of Rio de (“FBN”) »» Credit facilities to further new business models for publishing of Mato Grosso do Sul], PA [State of Janeiro], São Luís [State of Maranhão], and bookish projects turned to small-sized publishing houses and bookstores. Pará], PE [State of Pernambuco], PB and Salvador [State of Bahia]. [State of Paraíba], PI [State of Piauí], »» Qualification of creative competences to Booksellers through courses with emphasis on the concept of the bookstore as a cultural dynamo, PR [State of Paraná], RJ [State of Rio See below the consolidation of strategies and in the development of cultural competences as strategic dimension for management, programming, and businesses. de Janeiro], RN [State of Rio Grande do proposed by the Secretariats and/or

»» Technical and financial support for publishing and musical projects, and Norte], RS [State of Rio Grande do Sul], Foundations for Culture of the States and events developed by associations and cooperatives of poets, guitar players, improvisators, and emboladores [a Brazilian northeast art sang SC [State of Santa Catarina], SE [State Capital Cities, consolidated per region in two persons, in quick, improvised and metric verses]. of Sergipe], RS [State of Rio Grande do and axis of action of the Secretariat of the »» To technically capacitate, qualify, and assist entrepreneurs, associations, Sul], TO [State of Tocantins]). Creative Economy (“SEC”): and cooperatives of communities of quilombolas [a Brazilian Quilombo slave descendent residents] for production and circulation of cultural goods and services.

» To support the production and circulation of creative goods and Palmares Cultural Foundation » services of quilombola communities through the development of AXIS – CREATIVE TERRITORIES projects between the Secretariat of the Creative Economy (“SEC”) and the Palmares Cultural Foundation (“FCP”). REGION STRATEGIES » To articulate partnerships for institutionalizing creative territories from the »» To cause the qualified insertion of 180 quilombola communities certified » with the Secretariat of the Creative Economy. enhancement of cultural vocations of the North Region. Examples of some territorial cuts: Jalapão [State park in eastern Tocantins] / Tocantins [State »» Participation in the technical analysis of themes on creative economy; of Tocantins] (Workmanship / Capim Dourado [Golden Grass]); Rio Branco NORTH [City]: historic-cultural inducing tourist destination; Manaus [City] (opera »» Participation in the analysis and preparation of researches, especially house), and Itacoaraci [City] / PA [State of Pará] (marajoara earthenware). within the scope of the covenant between the Ministry of Culture Creation of programs, projects, and methodologies making easier the Casa de Rui Barbosa Foundation (“MinC”) / Brazilian Institute for Geography and Statistics (“IBGE”) »» (“FCRB”) and the Ministry of Culture (“MinC”) / Institute for Applied Economy feasibility of creative territories. Examples of some territorial cuts: Bairro Research (“IPEA”). [District] da Madre Deus, São Luís [City] / MA [State of Maranhão] (popular feasts).

»» Partnership in the promotion of meetings, seminars, and publications in NORTHEAST the field of the public policies for the creative economy. »» Survey and furtherance of territories and existing experiences; Creation of creative space networks from a three-way management with definition of roles of federated entities and other partners (S System, official banks, Federal Institutions for Vocational and Technological Education (“IFETS”), among others). »» Mapping of Goiás [State of Goiás] territory potentialities based on the French model designated Anaconda. Step VI representatives of the Secretariats CENTRAL-WEST »» Creation of a labor group for creation of development policies from creative Meeting with federative partners and Foundations for Culture of states economy. and municipalities of capital cities for »» Mapping of potentially creative territories, cities, and districts from the definition of criteria and actions of acknowledgement and visibility, incentives, In order to strengthen the discussion connected with the local and interchanges and exchange of experiences. That of the Culture Point Web; federative agreement in the process for regional demands. Gathered per region, SOUTHEAST »» Recovery and requalification of territories from the furtherance to creative the development of public policies for the the federated partners contributed with economy, such as the degraded downtowns. creative economy field, the Secretariat of strategic proposals and actions aligned to »» To map the existing territories, such as in Curitiba (Municipal public SOUTH administration institute), which maps the districts. the Creative Economy (“SEC”) has counted the action axes of the Secretariat of the on the participation of public managers, Creative Economy (“SEC”).

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AXIS – STUDIES AND RESEARCHES AXIS– CREATIVE BUSINESSES REGION STRATEGIES REGION STRATEGIES »» Creation of Information Systems and Cultural Indicators articulated with the state and municipal for culture systems and the Ministry of Culture (“MinC”), through »» Identification of the needs of the productive chains, mainly, the arts one. the Secretariat of the Cultural Policies (“SPC”), Secretariat of the Creative NORTH Economy (“SEC”); »» Funding and support to the formalization of associations. Integrated NORTH programs for such levels. »» Focus on the Amazonian cost. »» Creation of Funds for projects in the creative economy area. »» Systematic studies on creative economy through systematic support to study groups of the Universities. Partnerships: S System, universities, vocational »» Program of incubators focused on the Creative Economy in all States with schools, research institutes, among others. articulated partnerships between the Ministry of Culture (“MinC”), Ministry of NORTHEAST Science and Technology (“MCT”), Brazilian Service for Support to Micro and Small-Sized Companies (“SEBRAE”), and Secretariats for Culture, Science and NORTHEAST »» To improve the definition of parameters and criteria to researches of the Brazilian Institute for Geography and Statistics (“IBGE”); creation of research lines; Technology. unification of methodologies; partnership of the Ministry of Culture (“MinC”) CENTRAL-WEST » To further the capacitation and circulation of artists and entrepreneurs. / Ministry of Education (“MEC”) for scientific research; creation of forums for » sharing experiences of studies and researches. »» To encourage the formalization of cultural industries. To implant information system and cultural indicators; creation of observatories CENTRAL-WEST »» »» To make the cultural agents more sensible about the importance of and national culture calendar. SOUTHEAST management tools. »» To create network making available already existing data fed in the Wikipedia style by each state and municipality. »» Portal for disclosure and guidance on calls for bid and furtherance lines in Brazil and abroad with accessible language. SOUTHEAST To launch a call for bid or research award in the culture area on a continued basis »» »» To encourage the creation of other financing sources in States, further to in the country; To conduct transversal seminars involving universities and private incentive laws. industries with focus on the creative economy. SOUTH » Construction of investor’s forums for the cultural industry, supported by the »» Alignment of research methodologies; Implementation and consolidation of the » SOUTH National System of Cultural Information and Indicators (“SNIIC”); Creation culture state governments. economy observatories; mapping of productive chains in creative sectors.

AXIS – LEGAL LANDMARKS STRUCTURING AXIS – NETWORKS AND COLLECTIVES REGION STRATEGIES »» Review of the Law no. 8666; REGION STRATEGIES NORTH »» Adequacy of the maximum income value for individual entrepreneurs; »» Formalization of cultural groups and companies through associationism and cooperationism. »» Application of the property right to traditional communities. NORTH »» Promotion of entrepreneurial courses with specific demands by networks and »» Flexibility of the operation of the Law no. 8666 for cultural projects. collectives. Mapping of policies for the associationism articulated with the Brazilian »» Reduction or relief of the tax rate of the Central Secretariat of the Collection and NORTHEAST »» Distribution (“ECAD”) in free events; National Service for Cooperative Training (“SESCOOP”). »» To implement formation and maintenance policy for cooperatives and »» Acknowledgement of the seasonal culture professions. CENTRAL-WEST networks. NORTHEAST »» To conclude the review of the Copyright Law. »» To implement supporting actions to collectives, as the Brazilian Service for SOUTHEAST Support to Micro and Small-Sized Companies (“SEBRAE”) / ES [State of »» Cultural considerations for industries and service firms implemented in the states. Espírito Santo] through Rede Cultura Jovem [The Youth Culture Network]. »» Regulation of the Sectorial Funds of PROCULTURA and Vale Cultura. »» Research and application of the management model suitable for the SOUTH networks. »» Specific laws for Import and export of cultural products: CENTRAL-WEST »» Formalization of the Individual Entrepreneur.

»» Study and discussion of specific labor laws for culture professionals. »» To prepare studies for evaluation and review of the laws, aiming at the SOUTHEAST furtherance of the creative economy, as in Law no. 8666. »» To facilitate the access to the cultural industry of information on laws; SOUTH »» Regulation of culture-based occupations.

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AXIS – EDUCATION FOR CREATIVE COMPETENCES »» Approximation of the Secretariat of the Creative Economy (“SEC”) with the Ministry of Labor and Employment from the creation of a work groups REGION STRATEGIES (“GT”) to discuss identification and regulation of occupations. Social Security / »» Courses for education and improvement in Technical Institutes according to » Mapping of territory vocations and indication of required occupations; NORTH specific demands of creative sectors. » Labor » Systematic courses and workshops for professionals of the creative industry. »» Adoption of inclusion policies of informal ones in the productive chains » and amplification of the enjoyment / consumption of creative goods and NORTHEAST services; »» Creation of a permanent agenda of meetings, seminars, and scholarship grants with the Ministry of Culture for improving public policies. »» To gather database of the institutions: Brazilian National Agency for Movies (“ANCINE”), Brazilian Association of Record Producers (“ABPD”), Brazilian »» Systematic support to the professional education of creative entrepreneurs, CENTRAL-WEST with formal courses and Distance Education (“EAD”). Book Chamber (“CBL”), and Banco Central [Brazilian Central Bank], to survey information on copyrights; »» Investments in capacitation in several areas of the cultural sector. »» To construct and implement the “IPEA DATA” of Culture; Exchange of experiences between the state and municipal public calls for bid. SOUTHEAST »» Administrative »» To structure / institutionalize the research field on culture in the country; »» Management education in several levels (undergraduate, vocational, free courses) »» To held seminaries on Research, Furtherance, Production, Evaluation and Socialization in Culture; »» To cause technological education in the arts’ field along with federal Institutes. »» To hold seminaries on Research, Regulatory Policies (Tax, Social Security / SOUTH Labor and Intellectual Property) and Access to Consumption / Enjoyment. »» To invest in professional education as Escola Binacional de Restauro [The Bi- national Restoration School] (Brazil / Uruguay in the city of Rivera). »» To rescue and give visibility to the study of Fundação Getúlio Vargas (“FGV”) on piracy in emerging countries;

Intellectual Property »» To construct and implement a network including “policy makers”; Purpose: Discussion on legal landmarks for »» To divulge public policies of creative economy in Universities (Law and Step VII Economy courses); Meeting with jurists creative economy Period of execution: August 15, 2011. The step of discussion with jurists had Participants: Pablo Ortellado (São Paulo The actions and products presented as purpose to identify the main obstacles University (“USP”)), Allan Rocha de Souza Step VIII in this plan translate the guidelines and having a tax, administrative, social security, (Rural Federal University of the State of Rio Internal Planning of the policies proposed by this Secretariat, the labor, and intellectual property nature de Janeiro (“UFFRRJ”)), Roberto Freitas Filho Secretariat of the Creative objectives and goals provided for in the 2012 preventing the development and strengthen (Institute for Applied Economy Research Economy - 2015 Multiannual Plan (“PPA”). of the creative sectors. (“IPEA”)), Marcos Wachowikz (Federal The meeting counted on the University of the State of Santa Catarina Guided by a wide listening and To such effect, the Secretariat of participation of six academic jurists (“UFSC”)), Roberto Fragalle Filho (Federal consolidated by strategies and proposals the Creative Economy (“SEC”) proposes specialized in tax, administrative, social University of the City of Rio de Janeiro of actions generated through a strategic a group of initiatives and actions to be security, and intellectual property matters (“UFF”)) and Humberto Cunha (University planning process, the Secretariat of the implemented by the Ministry of Culture, related to the cultural field. The deficiencies of the City of Fortaleza (“UNIFOR”)). Creative Economy accomplished the last articulated on an interministerial basis, of the current legal landmarks regulating step of its planning from internal meetings and with a number of public and private the creative sectors were identified and See below the consolidation of actions with the whole team, which has bent on the partners from their actuation axes: improving and adequacy actions as per said proposed by the jurists, consolidated in actions and products to be implemented in institutionalization of creative territories; landmarks suggested. accordance with the specific legal landmark: the course of their term of office. development of researches and monitoring; Purpose: Development of actions, products, setting forth of regulatory landmarks and goals (2011 to 2014) favorable to the Brazilian creative economy; Legal Landmark Action Proposed Period of Accomplishment: August, 2011 technical and financial furtherance turned to businesses and companies of the creative »» To leverage with the Brazilian Federal Treasury Department which tax Participants: the whole team of the incentives shall be given to Culture and which tax burden shall be levied on sectors; furtherance and strengthening of the links of the several productive chains of the Culture; Secretariat of the Creative Economy (“SEC”). Tax associative organizations (cooperatives, »» Strategic approach about the tax landmarks to the effect of attracting the creative economy to formality (General Law of the Micro and Small Sized 6.3. Actions and Products of the networks, and collectives) and education Company (“MPE”), Law of the Individual Micro-entrepreneur (“MEI”), etc.). Secretariat of the Creative Economy for creative competences so as to cause the (“SEC”) productive inclusion.

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